Interviews With Creative People Page One

Click on the person's name or image to read that article: (images copyright original owner)

Robert "Orca" Berendt, scratchboard artist

 Denise "Austina" Cardwell, fine artist

Michael A. Cummings, quilt artist

 Peter Genovese, author & Star-Ledger newspaper columnist

Simon "Nemo" Ledezma, fine artist and architectural models

Charles J. Lombardo, CEO Crimson Atelier giclee printer

Gerene Reid, scratchboard artist

Don Tate, children's book illustrator

Daniel Tisdale, artist, publisher and founder of Harlem World Magazine & participant on PBS reality tv show Colonial House

These interviews may not be reproduced without including the following credit: copyright Gregory Huff. Please visit www.CreativeHelps.com for more interviews like this and resources designed to energize your creativity.

ANOTHER COLORFUL LIFE ~ Don Tate

This month we will take a moment to chat with children's book illustrator Don Tate. Don's background includes illustration as well as graphic design in the areas of advertising, educational publishing, and visual journalism. His website www.DonTate.com is full of playful, colorful images as well as a biography and pictures of Don. Be sure to read about the journey of his project, "Sure As Sunrise," which details the A to Z of illustrating a children's book.

1. How did you become interested in art?

Art, or more specifically, using my hands creatively, has been who I am for as long as I can remember. I have a drawing which share with kids during school visits. It is a drawing that I created at the age of 3. It's of my mother holding my baby brother. It's pretty stick-figurish of course, but clearly shows a talent for drawing at an early age.

As a child I always had some project in the works. Drawing, building, weaving, braiding, painting, sewing, gluing, cutting or whatever. I think it may have troubled my dad. Boys aren't supposed to do those kind of things. But I couldn't play sports and I was not an academic. Drawing and creating is how I earned respect and boosted my self esteem.

My mother and grandmother supported my artistic endeavors by keeping me well stocked with pens, pencils, paper, fabrics, yarn or whatever I needed to create my latest masterpiece.

2. What is your favorite medium and how did you choose it?

I don't really have a favorite medium, I like variety. In the last few years, I have focused on acrylics because they dry quickly and my deadlines are tight. When painting, I prefer a wet-over-dry technique. Acrylics allow me to continually paint without stopping. I really like oil paint, too.

In addition to oil and acrylic, I enjoy using colored pencil, scratch board, airbrush, watercolor and inks.

3. What artist(s) (living and from art history) do you identify with most and why?

I don't have much art history in my background, so I am most familiar with and inspired by contemporary illustrators. The first artist that really got my attention was Jerry Pinkney. An African-American illustrator who was not only illustrating some of the books I was familiar with, but winning national awards and headlining some of the reading conferences I attended.

As a child and even as a young professional, I had been warned that art was not a field for blacks. "You'll never get a job," and "you're wasting your time and money with art," is what people would tell me. These warnings came from family, college instructors and even two of my early employers. I grew up in Des Moines Iowa, and I think all this was sadly true for the commercial art market in Des Moines, pre 80s. I tried not to buy into that way of thinking, I was determined to succeed regardless, but I did carry those warnings around in my head for years. So when I discovered the work of Jerry Pinkney, an African American artist of my parents generation, who had been illustrating for years and who was successful, that clinched it for me.

4. Describe a moment in your life that significantly impacted your art (for example: life events changed your subject matter, plein air class, birth of child, etc.).

I found myself creating sketches for an educational book, an anthology of African Myths. I approached it as I did everything for black subject matter, realistic style. I decided the night before I was to present my sketches that I wanted to do something different. I wanted to have some fun. So I stayed up all night re-sketching and using a fun whimsical and stylized look. My editors loved it, and I have pretty much been using a stylized realism every since.

One other thing that significantly impacted my career, and I can't leave this out, is the computer. When I graduated high school, I told everyone I wanted to get into computer graphics. In 1982 a career in computer graphics sounded kinda exotic. I had no idea, at that time, how much the computer would soon dominate the field of commercial art, regardless of my desires. When I was first presented with using a computer, I resisted big-time. But that's because I started training on a unix-style pc or something like that. I'd have to type in a full page of coding just to turn the thing on. And early graphics and illustration programs created artwork that looked too Pac-Manish, all bitmapped and hard-edged. But then a few years later I was introduced to a Mac and it's been me and my Mac every since. Although I illustrate books with paint, probably 90 percent of my other illustration work is done on the computer using Adobe Illustrator, Photoshop, Painter and various 3D programs. And even my painted work often starts on a computer, or is somehow aided or enhanced by the computer.

5. What is the most challenging part of the creative process? The most rewarding part?

The most challenging part is probably once the sketches have been approved and its time to render the final illustration. I'm ready to start laying down underpaintings and to make color choices, but my mind goes to thinking about all the other great illustrators. How's my book going to look alongside a Pinkney book, or a James Ransome book? These guys are fantastic, what am I trying to do? I think about what things the reviewers might write about my work. Some reviewers can be very mean and interpret my artwork in ways I never would have imagined. I also worry about what my editors and what the author will think of the art. I eventually throw all the negative thinking out. I look over my past artwork and I remember how much talent my creator has blessed me with, I say a little prayer and jump right into it.

Also, because I have no real formal training in painting techniques, I'm sort of winging each new project. I find myself sort of stumbling through my first few illustrations in a book until I hit that proverbial wall. It just sort of happens after that.

The most rewarding part of illustrating children's books, for me, is when that fresh off the press copy arrives on my front doorstep, and I can see the final fruits of my labor(and know a check is on the way). The other equally rewarding aspect is when I speak to the children. Their response to my artwork is truly rewarding. There tends to be an extra sparkle and pride in the eyes of the African American children, so it feels great to be up there sort of representin' for them.

6. Describe ways that you were able to stay determined and focused in spite of rejection.

Bad always comes with good and rejection is a part of being an artist. Everybody is not going to desire your work. Art is subjective. In the past when I have found myself up to my neck in rejection, I usually change my game plan and plant some new seeds. I like to prove the nay-sayers wrong.

7. What are some ways that being a "self-taught" artist have affected your career?

I labeled myself as self-taught on one of my book jackets, I hope I didn't give kids the impression that I have had no education or training. Actually, I attended a vocational-technical high school where my core training was commercial art. I attended a 2-year community college and received a degree in commercial and advertising art. But I've had no formal training in illustration, thus the label "self-taught."

I haven't allowed the lack of formal illustration training to affect my career too much. I've had to learn by trial and error, asking a lot of questions and feeling my way around. It's taken a little longer to get where I want to be, but I've learned a lot and I have a great sense of accomplishment, having done it, anyway.

8. What things should an artist do to prepare their portfolio for review by a publisher?

A. Present your work professionally. I once referred an illustrator friend of mine to a publisher I had been working with. Although the art director, also a friend of mine, liked the persons work, he later told me the samples he received were dirty, dinged-up with extraneous pieces of tape and body hairs. That's not cool.

B. Be sure that your work demonstrates your ability to consistently carry a character through a story. Peter Mouse on page 5 would need to look like the same Peter Mouse on page 32.

C. Include just the right amount of samples. Its better to include just a few very strong pieces, than 50 samples of mediocrity.

D. Be sure to include a cover letter addressed to a specific person, and be sure that person still works with a particular publisher. Before sending your letter out, have it proofread by a word person. I recently found a cover letter that I wrote probably 15 years ago for a job I was trying to get. I wrote and proofed the letter myself. It's no wonder I never heard back from them.

E. Although you'll probably want your portfolio returned, be sure to include something for the editor or art director to keep on file. Color copies, or printed postcards are great. You'll probably not want to include original art unless you are lucky enough to have a face to face sitdown or unless you are doing some sort of day drop-off. When mailing samples you want returned, Include a self-addressed stamped envelope.

F. Do your homework. Research the publisher you are approaching. Request a catalog to see the types of books they publish. If they publish stories about frogs, then sending a portfolio full of your finest illustrated elephants is a waste of time.

9. Have you ever considered placing your work in a gallery? Why or why not?

I haven't given it much thought. My artwork and training has always been very commercial oriented. I'm used to creating artwork with a predetermined purpose. I think my commercial illustration looks odd out of its element, like on a gallery wall. I might be wrong, but when I think of gallery art I think of fine art one might hang on the walls of their family room.

10. What's next on the horizon for you as an artist?

Writing! I'd like to expand and do stories about pigs, plants, cars, dinosaurs, Martians, or a blonde-haired character. I've now realized that in order to break out of the hole I've found myself in, I'm going to have to write some of these other stories that I'd like to illustrate, then offer myself as a writer/illustrator package. I have a few stories started and will work with my literary agent at polishing them. One day I will wear the title of author and illustrator.

11. What advice do you have for others who need encouragement to pursue art as their life's goal?

If art is one of your life goals, do art because you love doing it. Not out of any need to win awards, make a statement or to gain notoriety. Putting that extra pressure on yourself takes the fun out of your creativity. Have faith in the talent that you have been given by your creator. Draw upon that source of infinite creativity. The first thing people will say is that you can't make a career out of art. They'll tell you that an art degree isn't marketable and you won't make any money. Its true that as an artist you probably won't get rich. But if you have an artistic talent and you are determined, you can make a good living in the arts.

12. Is there anyone you wish to thank publicly?

I always thank God on my books credits page. And I always thank my mother for her praise of me as a child (and as an adult for that matter). That is what boosted my confidence in my abilities as an artist and made it so much easier for me to succeed. There was no question that I could succeed because mom said I was good! I thank my wife because it takes time to illustrate books, after my full-time job. That's time I'm not spending with her and my family. So her patience and willingness to let me pursue my dreams is a gift.

Contact Information: Don Tate, 2224 Desco Drive, Austin, Texas 78748 512-282-0909, tate2@aol.com , www.dontate.com

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ANOTHER COLORFUL LIFE ~ Michael A. Cummings

Michael A. Cummings is an accomplished quilter who has a gift for telling a story through his quilts. One doesn’t have to be physically wrapped in his quilt to feel the warmth that radiates from them. A native of Los Angeles, Michael currently lives and sews in the 100 year-old Harlem brownstone he purchased in the early 1980s. Cummings' work can also be found in several books, most notably A Communion of the Spirits: African-American Quilters, Preservers and Their Stories by Roland L. Freeman; Quilts: A Living Tradition by Robert Shaw; and The Black Family Dinner Quilt Cook Book, National Council of Negro Women, Inc. He is one of a handful of male quilters in a medium dominated by women.

Being one of the growing circle of male quilt artists, you must have faced severe criticism and rejection in the past. Describe ways that you were able to stay determined and focused in spite of rejection.

Rejection and criticism has not come from the quilting community, it has come from the "art" community, meaning galleries and museums. I have always considered my artwork equal to "fine art" and aim for those types of venues to exhibit my artwork. Over the years, galleries and museums have come around to showing more art quilts, because they are so popular and collectible. The art world is very political and words have been created to divide the creative process into subdivisions (like class division). Whereas, it is all really the same.

What artist (s) do you identify with and why?

Some of the arts that have influenced me have been Stuart Davis for his wonderful bright colors and his compositions that have a musical jazz quality. Jacob Lawrence and Romare Bearden for their strong narrative compositions with a brillant color sensibility. Marcel Duchamp and David Hammond for their beautiful conceptual art and bringing together found objects. Diego Rivera for his large scale murals and his narrative storytelling. Robert Rauschenberg, Joseph Cornell, Zora Neale Hurston, folk artists and many more for the music in their art.

Describe a moment in your life that significantly impacted your art.

When I first looked at Vincent Van Gogh's Sun Flowers painting, when I was a child, that moment convinced me that I wanted to become an artist. The second moment that impacted my art desire occurred years later in New York. I discovered Romare Bearden's art ...and his collages.

How important was it for your family to support your creativity in your formative years? In what ways did they support you?

My family didn't directly support my creativity in my formative years, they tolerated it. In that grey area of allowing me to just be creative, I nurtured myself. They didn't object to a point. That point was about me having a serious job, and art to them was not a serious job with security. Today they appreciate what I do and almost understand my commitment.

What is the most challenging part of your creative process? The most rewarding part?

The most challenging part of my creative process is finding time to create. I have a full time job and finding time after work and weekends can be very difficult. The most rewarding part of my creative process is looking at a completed artwork.

What are you thinking about as you quilt, and how do your thoughts and emotions become part of the finished product?

When creating/constructing I am constantly focusing on my idea...visualizing. As I visualize (I generally don't draw), I see my composition in my mind. Forms and color come together in my thoughts. I am also listening to music of all types; jazz, opera, folk, African music, Brazilian music, Rap, and Broadway musicals. There is some improvisation that occurs in my creative process.

You were featured on the Home & Garden Network series, "Modern Masters." How were you chosen to be on the show?

I have acquired over the last 20 years a public image as an African American male quilter. I was told that the show's host wanted to feature my quilts and liked my work.

What do you feel has been a milestone in your career up to this point?

In 2001, I received a Tiffany Award from The Louis Comfort Tiffany Foundation. This was a milestone in my career, because I have been acknowledged by other artists that I admire.

How did your work catch the eye of Bill Cosby?

One year Bill Cosby came to one of my exhibitions in New York City and became aware of my quilts. Later that year, his wife purchased a quilt for a surprise gift to him.

What's next on the horizon for you as an artist?

Just to make more art!

What advice do you have for others who are interested in pursuing quilting?

My advice to anyone interested in quilting: start simple regarding designs or patterns, and work small. You must have patience and stay focused.

For more information about Michael Cummings and his work, visit his website at www.MichaelCummings.com or contact him by e-mail at ArtworksMC@aol.com .

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ANOTHER COLORFUL LIFE ~ Gerene Reid

Gerene Reid is an artist with a knack for capturing the spirit of her subjects. "Art is more than decoration -- it’s a celebration of life," she says. And -- celebrating, -- she works in many media, although she’s perhaps best known for her scratchboard etchings of animals and birds, and her impressionistic oil and pastel paintings -- two widely differing approaches. As a painter, Gerene has progressed from recording to interpreting through study with such well-known artists as Keith Ward, Ned Mueller, Robert Rohm, Deanne Lemley, Ann Templeton and Alfred Currier. Gerene’s work has won awards at many Northwest art shows and is included in corporate and private collections across the United States and in Canada. She exhibits at selected Northwest art shows and at many fine art galleries from West to East Coast.

When did you discover you were an artist? How many years have you been a professional artist?

I discovered the ability in kindergarten. I’ve been an artist ever since, and I’m 75 years old. I began selling my work about twenty-five years ago, though I’m not in the studio full time.

On your website you mention that you are self taught. How does this impact your art?

It’s given me the ability to color outside the lines, unrestricted by the "right" way of doing things. I’m an explorer, and I like being able to try new things. I’ve participated in many workshops with a variety of instructors, and I’ve learned something new every time.

You describe yourself as a multi-media artist. How did scratchboard become one of your mediums?

I wasn’t progressing as I wanted to with oils, so I decided to try scratchboard (learning the technique from a book). I figured if I did enough of that picky-type work, I might get looser with my oils. Fortunately, the scratchboard etchings began selling, so I had a new road to travel.

Describe a moment in your life that significantly impacted your art.

At a local painting workshop, the instructor told me to "lose the edges." I had no idea what he meant, so handed him my brush, and he lost the edges. It was a moment of illumination, and one that’s stuck with me ever since.

Describe what losing the edges means.

It means softening the outlines of objects in the picture, especially those further in the background, so that everything in the painting isn’t sharply defined. What he did was take the brush and run it lightly over the edges of the background objects, so that the edges sort of spread out into the next area. It looked messy close up, but when you backed away, it looked natural. We don’t see everything sharply defined in nature, so things shouldn’t look that way in a painting.

What subjects inspire you? Why are those subjects important and meaningful to you?

I love animals, and their expressions and ways of dealing with their lives continues to fascinate me. I used to drive instructors crazy by sticking a little animal somewhere into my landscapes. To me, a landscape isn’t meaningful unless there’s (an animal) enjoying it.

Scratchboard is typically a black and white medium. Why did you decide to use color? How do you apply the color?

I simply got bored with black and white, and decided to experiment. With scratchboard, that’s a challenge since it soaks up watercolor, water runs the ink, and the scratched surface is too slick to hold pastel. I also have to plan ahead for color, and leave those areas white. I’ve tried lots of things, even printing the image in black and white and then coloring the prints individually with colored pencil.

You mention that you have studied with several well-known artists. What are some of the most significant things you’ve learned from them? How did you get to study with them?

I’ve attended a number of week-long workshops in our area, at the La Conner Art Center (WA), which attracts many "name" artists. What they’ve taught me most significantly is to stop seeing things as photographs and to experiment with color, according to how I feel about the subject. Also to force myself to see shapes and areas of color rather than specific images; i.e., paint the shape of the tree rather than the individual leaves.

You mention that you are also a promotion consultant, writer, and designer. How do you prioritize your time to create art?

I never "find" time for art – I have to make it. Fortunately, I have an understanding husband. I’m pretty much retired from the promotion business now, so there’s more time to spend in my home studio. The business did teach me though, to work on the art when time permits and not to wait for "inspiration." It can be a very long wait.

Will you continue with scratchboard in the future?

My current fascination is pastel painting. I seem to be able to create impressionistic paintings more easily with pastels than oils.

For more information about Gerene Reid and her art, visit her website at www.PaletteAndPrint.net or by e-mail at goldnart@att.net .

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ANOTHER COLORFUL LIFE ~ Daniel Tisdale

Daniel Tisdale was a participant in the 4-month project "Colonial House," which aired on PBS television stations in 2004. (Didn’t watch Colonial House? Read more about it here: http://www.pbs.org/wnet/colonialhouse/ . The premise of the show was to transport a group of people back 400 years to a fledging colony in Maine in the year 1628 to see if they could create a viable colony.) Danny was "cast" as the head of the freeman’s household. I spoke with Danny to find out his insights on the project, its impact on his art, and his magazine, Harlem World.

How did you become interested in art?

Early on, I was very gifted with a father who introduced us all (I'm the youngest of two older brothers and one super sweet sister), to the arts (paint, pencils, etc).

What is your favorite medium and how did you choose it?

When I was younger I loved, loved, loved graphite drawings. Today, I'm a conceptualist: I have an idea then I find the medium.

Do you have a website for your art? What galleries are you currently showing in?

I represent myself at Tisdale studio. I'm a small business man, who happens to be an artist. Currently, my "Disaster Series," (an homage to Warhol), is in a traveling show for the next two years. The show is titled, "Only Skin Deep," it was just at ICP (International Center of Photography) in New York earlier this year.

Describe a moment in your life that significantly impacted your creativity.

I think moving to New York and working at Warhol Studio with Andy before he died was significant in a creative sense. It showed me the endless possibilities.

What’s next on the horizon for you as an artist?

Well, I'm working on a bunch of new work. A new traditional b/w photo series "Harlem," (I know, original title :). Another photo-based work "Human Logos" (which takes illustrative images from product boxes and turns them into life size portraits-Little Debbie, Blue Bonnet Butter lady, etc).

What do you believe are some important things that people need to do in order to stimulate interest in the arts in their communities?

Realize that it's around you wherever you are and wherever you go. There is an exercise I have my students do "The Art Challenge," to get them to realize the importance of the arts. I ask them to close their eyes, and say this is a world without art. When I ask them to open their eyes, I say this is a world with art. Everything you see has been created by an artist. The chair, the desk, the door, the shoes you use, the art on the walls, they have all been created by an artist.

As artists we have to talk about the great work that we do in and out of the communities where we work and live. Everyone has had some positive connection to the arts, so we have a big fan club out there. We just have to tell our stories, no one else can do it, and we do it better then most people. I always think of the words of Bobby Kennedy when I think of the work we do as artists: "Some people see things as they are and say why, we see things as they never were and say why not."

How did you come up with the idea for Harlem World magazine (HWM)? Describe the birth of the magazine.

The idea germinated from working downtown in publishing and living in Harlem. I wanted to work where I lived. Second, it's a Warhol template. He created Interview Magazine (where I worked for years) and I thought it made sense to create HWM for the same reasons he did.

If someone has an idea for a magazine, what will they need to do in order to pursue their dream?

Work, work, work hard at it. I don't think anything beats good old fashioned hard work. It's the same as creating a body of artwork for a show. Imagine it, research it, and then create it.

Why did you decide to become a participant on the PBS show Colonial House? How were you selected to be on the show?

I love history, and I especially love the history of America. When I watched Frontier House in 2002, they gave viewers an opportunity to go on-line and fill-out an application to participate on another upcoming house series show (Colonial House). This house show theme was "community" and that excited me even more, since I love community. I filled out the application and got a call a month later. From 15,000 people, they selected 13 and I was one of those 13.

How much did you know about 1628 before you entered the project? Did you do research other than what they provided?

I knew quite a bit. I had the research by PBS, Plymouth Plantation, and my own research to prep for the experience. Yet, there was always someone who knew more history that informed us. After speaking to Ms. Peters (a native Indian), it enhanced my perspective enormously. She reminded me of my grandmother from Louisiana.

How were you able to "take off" 4 months from your life to accommodate living in 1628?

The Harlem World staff took care of the magazine, an intern and I prepped all outgoing for Tisdale Studio, and I took a two month sabbatical from my teaching job.

Did they pay you a stipend for participating?

Not enough, but yes.

The show really didn't focus on your boat journey over there. What was it like?

The boat ride was hellish. No food cooked, the water sloshed over the side while we slept, no place to use the toilet, and it was freezing cold. No one knew what to expect, we all had this intense sense of anticipation!

What is a freeman?

Freemen were men who were not indentured servants and in our case owned shares in the colony stock.

During or after the project, did you find you appreciated your life in the 21st century more?

Big time! From the lowest to the highest degree: from a Pepsi or chocolate every now and then, to the simple weekly phone call to my family on the west coast.

What did you miss the most or least?

As I mentioned above, I missed the conversation with my family the most (which was historically accurate). I missed the noise of New York City the least (sirens, yelling, cars, etc.). On the show when you slept at night, you could hear conversations in houses next door (not that we listened), the trickle of water in the pond, etc.

As a black man, did you feel understood by the others in the project? Why or why not?

I don’t think 16th century people were that much different from 21st century people. If I expect folks who don’t know me to understand me, I’m barking up the wrong tree. I’m not one to look for people to understand me, I just want them to give me the benefit of the doubt and treat me as an equal, just like I’ll treat them.

The show didn't seem to focus on you for much of the first 4 hours, though you were one of the ones fortunate enough to get a brief description of your 21st century life. Was it because they knew you were leaving, your comments were edited out, or you didn't have a lot to say?

It was unfortunate that my comments were edited. That morning before I left, we spent over 2 hours discussing in detail my reason for leaving to Louisiana (where my mother was born). I don’t think they understood it. The question of race is a discussion some still have trouble discussing in our great country. I was surprised, since PBS has a great reputation for taking the high ground.

You seem to be absent as a participant during the group activities during free time (for example: the bonfire, dancing, playing games). Were you involved?

I participated every time there were events. Yet, I was very, very, very aware of the camera and how I would be edited for 100 million viewing eyes around the world. As we’ve discussed, I was not secure in their editing process, since most of the producers were not from the USA and did not know and/or weren’t comfortable with the history of race.

How important was it to you that you be totally absorbed into the project?

Completely. I always use the example of becoming an artist: after I graduated from college, I thought I had to make a commitment to be an artist. Either I should put my money where my mouth is or don’t become an artist. My way of making this commitment was to drive my ’63 Chevy Nova 3,000 miles to New York after graduating from college. My commitment to the Colonial House show was the same. Bouncing back and forth between the 21st and 16th century was not a good mental or physical place to be; it was too easy to be homesick. Once I made the commitment it was a lot easier, yet my 21st century self was always with me. With the work that needed to be done one could never go through the motions and as a member of the governor’s council I had to lead by example.

Did you find a kindred spirit among the group?

The kindred connections for me were with Paul Hunt and Jonathan Allen (the servants), Amy Kristina-Herbert (the widow), Jeff Wyers (the governor). They were passionate and clear about who they were.

What was the most memorable moment from the show that was not included in the final cut?

Good question, that's the first time that has been asked. Of course the best moments happened when the cameras weren't around. I would say the best moment, was when the entire village got together to help the Freemen move the chicken house next door to the pigs. The chickens smelled so bad, and made so much noise (and strange noises), they had to be moved after almost a month of their madness. We rolled the 1,000 lb house, side-by-side down main street and down the hills to get it to it's final home (we attached a diary camera inside the house, but it didn’t make the final cut). It was a great small accomplishment, but it was times like those that bonded us together.

Why did you leave without saying goodbye to the other colonists besides the governor?

Good question. The colony had a meeting early regarding our relationship with our native Indian neighbors. We were very aware of the failings of American history. As not to divide the community, we took a vote and agreed that we would make "individual" statements regarding the matter. For me, that was important. I knew whatever issues I had to deal with were going to be my own personal issues and not the community’s. For over 4-5 weeks I had been mulling over and over in my head what I was going to do with the issue of slavery. The bio of my character that PBS wrote mentioned I had visited Virginia before coming to Maine in 1628, so I must have seen the slavery that started in the 1600s in VA. I knew as a colony we were surrounded by slavery in all directions and that historically within a few years it would visit our colony. I especially knew it was coming to this colony because we were short-handed of men and women who could do all the work that needed to be done. I knew that if men and women were brought to our shoreline as inexpensive labor it would be a tough decision for the community to make. Most colonies were established with over 100 people; we had 13 at that time! I did not want to put them in a situation of having to explain my actions, and I thought I would see my explanation on camera, but it wasn’t.

What do you think would have been necessary for the colonists to do in order to ensure slavery would not develop as a result of colonization?

Colonists would have had to bring as many men and women as possible with them when they made the journey to the New World, or partner with native tribes (like 1628 version of NAFTA). These trips from England to the New World were about making money; the more people, the more hands, the more money to be made. They may have purchased African, Indian, or Irish slaves no matter what. The more intent they were on making money, the more intent they may have been on how they made their money.

What was the first thing you did when you got back to "civilization?"

Shower, shave, toilet, and food!

What did you learn from your experience on the show? Was there anything you were surprised to learn that you didn’t know before?

I learned that we have not changed from our earliest yearnings as people to better our conditions: to "make way" for other places and people for a better life for ourselves or our children, or children’s children. It's the slave narrative, it's the American story. We make sacrifices today, for a better life tomorrow. I feel my great, great grandmother Tulip Tisdale made the biggest sacrifice, dying as a slave for me to be here today and to take advantage of all the opportunities that she helped create as an American of African descent. That's all of our red blood in the flag, with the blue sky of opportunity and the great white stars that we each can be.

Having watched the rest of the show, do you wish you had stayed?

There are many moments when I did wish I’d stayed. When I left, I was leaving family, people who cared for me and I for them, every minute, hour, day, and week of the project. It was emotionally and physically very, very tough.

Were you surprised at how the show turned out?

No, not really.

Do you feel the series gave an accurate portrayal of your involvement? Why or why not?

I don’t think the show gave an accurate portrayal of anyone on the show. The show could have easily been double the 8 hours it was. I think everyone was a bit abbreviated in their portrayals.

Do you keep in touch with any of the other colonists now?

Yes. We have a "participant only" chat line, dinners, and other get-togethers. We’re still making a community!

Did you do any artwork while you were there?

I redrew maps and worked on pen and ink drawings of the new house that was built for the new colonists.

Towards the end of the project, some of the colonists were allowed to explore more creative aspects of being there. What do you think you would have done?

Hard to say. I think there would have been too much work to be done to stop and become artistically creative, unless it was creatively making the colony more successful.

How did your artwork change as a result of participating in the show?

I'm thinking of a new performance work titled "Tisdale 2005: Harlem City Councilman." What's a better way to build community, then to run for public office as a public servant (not indentured)? One of the first battles during the American Revolution in 1775, was the Battle of Harlem Heights with George Washington, when he lived in the Morris-Jumel Mansion that still exists on 162nd Street and Edgecomb in Harlem.

On the Colonial House website it mentions that you are a teacher at a high school. How did (or do you) plan to integrate your experiences on the show into your classroom?

Yes, I teach the Visual Art and Publishing at the Community School for Social Justice (CSSJ), a New Visions School part of the new Charter School Initiative in New York. I have created my own lesson plan from the experience and I am using the lesson plan from the show to teach.

Oprah Winfrey and her friend Gayle visited the project near the end. Oprah kept wondering what black people would have been doing during that time in that colony. What would you have told her about the black experience in the colony?

I’ve always been curious why she didn’t ask Amy or me. I would discuss with her much of what we have discussed in this interview. Colonial House is the story of America, with all the complexities and brilliance that makes our country what it is today. I would mention the fact that we made the same mistakes in the project as we did in the beginning of this New World. I would say that my ancestors’ (Tulip Tisdale) blood runs deep and long in the soil of this land and they died for the same reason that those in England came to the New World for: a better life! We live today because they died, so that we can make this life better for our future generations.

My final words would be: I would love to know the ancestors’ response to what we’ve done!

Contact information: Daniel Bretton Tisdale, tisdalestudio@yahoo.com  www.HarlemWorldMag.com

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ANOTHER COLORFUL LIFE ~ Canvas of Many Colors: The Art of Denise "Austina" Cardwell

To quote Austina’s website: "Most of Austina's paintings present her viewer with an indepth spiritual story. She not only loves to give her viewer something to think about visually, but also emotionally. Compared often to stained glass windows, Austina uses an array of colors, in her paintings; whether it be watercolor, gouache or acrylic paints.

Austina's style of painting is considered one of Cubism, with her use of shapes of various sizes, that overlap line over line. The linework in most of her paintings have been created only with the use of a ruler, french curve or a compass, the tools of her professional background in Interior Design and Fashion Design. Her keen sense of perspective, along with her knowledge shade and lighting has allowed for her paintings to show extraordinary depth, which in several of her compositions have created fantastic optical illusions. Viewers have referred to her paintings as "Images that Pop"."

And now, Denise "Austina" Cardwell in her own words:

How did you get the name "Austina?"

I chose the name Austina in honor of my Grandmother. That was her maiden name, as well as my own. She was a great woman who was truly respected and loved for her strength and dignity.

What are your favorite mediums?

My favorite mediums to use are watercolors and gouaches because they are water-based. Gouaches I use more frequently because they are more translucent and have the best vibrant colors.

What significant event(s) impacted your art?

The death of my father’s brother, Montford Cardwell, significantly impacted my art. He too was a fine artist. He was a sculptor, painter, and organist. He graduated from the Rhode Island School of Design and went on to receive his MA from San Francisco State College. He always encouraged me to pursue my art, to work hard at it and to never give up on it. It was after his death in 2001 that I began painting the drawings that I kept in a book for years. I have gotten the most joy from this gift that God has given me, and have not stopped painting since.

Please describe one of your paintings.

UPON THIS ROCK is one of my earlier paintings. I conceived of this painting one evening when I came home from a hard day’s work and I seemed to bring all the stress of the world home with me. My husband so kindly asked me to leave all my concerns and worries outside at the rock in our backyard, so as not to disturb the household. It is in the painting that you see a woman sitting on a rock in an open green meadow of flowers, with a brook running through it. Off in the distance is the diminishing gray city that she has temporarily left behind and is thinking of sunny pleasant thoughts until the next day. (See http://www.austinaart.com/html/gallery/01.php4 )

What is the most challenging and rewarding part of the process of creativity?

The most challenging part is harmonizing my colors for each painting. Since I use so many colors in each painting I have to be very careful in the colors that I choose. The most rewarding part is seeing the concept I come up with become a vibrant piece of art.

Do you classify your work as African-American art? Is it important for your audience to know that an African-American woman created it, or should one accept it strictly as fine art?

I don’t classify myself as an African American artist, only as a fine artist (soon to be a stained glass artist). I depict what I know, what I see and what I feel at the time. I don’t put myself in any categories of preference of painting.

In what ways does your cultural background influence your work?

My cultural background influences my work in many ways. I was brought up to appreciate the arts. My parents took my siblings and me to museums at a young age. We also attended recitals and concerts. This taught me how to appreciate the hard work and dedication of others.

When did you incorporate the "stained glass style" in your work?

I have always had a love for stained glass since I was a child. In the house I grew up in there were 4 stained glass windows. In college we studied stained glass windows in art history, and I was brought up in the church. Having visited a variety of churches, cathedrals and synagogues, I grew to love the beauty of stained glass windows and therefore was able to incorporate that style into my work. It became my unique style because it allows me to work with a numerous amount of shapes, which suggests Cubism, but I also get to work in the world of colors.

What’s next on the horizon for you as an artist?

I will now concentrate on painting spiritual stained glass themes for churches. I want to be able to present a book to architects in the next 6 months.

Is there anyone you wish to thank?

I wish to thank my husband Richard Goodluck for standing by me through everything, and being my Rock.

My family is very supportive of my creative endeavors, especially my husband. He does all that he can by attending and selling at shows for me. My parents and siblings likewise encourage me and support me in any way possible. My cousin Sidney Swann is also very artistic; she is an illustrator and an interior designer. My aunt, Gretchen Swann, is also an interior decorator.

Contact Information:

Websites: www.AustinaPaintings.com & www.AustinaArt.com

e-mail: Dnaustina@aol.com

address: P.O. Box 609, South Orange, NJ 07079-0609

Phone: 973-313-9294

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ANOTHER COLORFUL LIFE ~ Simon "Nemo" Ledezma

Some of Nemo’s work has a wonderful organic quality to it, much like what one would experience if one magnified the inner workings of the human body. That makes his work instantly accessible even to those who may not like abstract art. There is something pleasing about the interaction of shapes that makes me want to look at his work more. I hope to own one of his works soon. This interview is short & sweet, so you can take time lingering at his website.

How did you come to be known as "Nemo?"

"Nemo" came about when I was about 12. It was just a bunch of name play with my real name Simon and that one stuck. It sucks that a certain fish got so popular and now all I hear is "look I found Nemo".

When did you discover you were an artist? Was there someone in particular who inspired you?

All my life I have been creating art but I never really thought of myself as an artist. A young girl named Hannah has had a big impact on my painting, she set up my first show in which I sold some paintings and its been rolling ever since. I have only been painting since 2002.

Describe a moment in your life that significantly impacted your art.

At my first show I sold 3 (pieces) that night and everyone seemed to like my art. I didn’t know about the scene or anything I just jumped right in and I seem to be doing ok.

What artist(s) do you identify with the most and why?

The ones that like to have fun with what they do. I try to maintain a calm, spiritual lifestyle and don’t come down much. This makes my art feel free and happy. The San Antonio art scene is where I get to see what other artists are doing. I think teachers are the most identifiable; I have learned so much and have had a lot of help along the way and a lot of people willing to take the time on me.

Sometimes artists don't recognize themes in their art until someone points them out. How did you discover the recurring themes in your art? What are they? Why are they meaningful to you?

I have been using some of the patterns for years, and have been tied to them in some way or another since middle school - I would draw them in class all the time. I have always used circles and spirals, they help me meditate. I also like to blend colors to see what I get and how the colors react together.

What has inspired your creativity the most?

I think dreams inspire my creativity the most. Sometimes I wake up and I have a shape or pattern in my mind and I can't forget about it till I see it come out on a canvas.

Describe one of the works on your site that was inspired by a dream.

You know when you close your eyes real tight and you begin to see shapes moving around? I have dreams that look like that, only in color. I see x’s and s’s, lines and circles. I just try to copy them on to the canvas. Those are the ones that look like "Water" and "Sweetheart". Some times they look like the "Split Splat One" and "Mud Puddles".

Do you create your art in one sitting, or do you rework your images over time? How do you create texture?

Most of my early works were done in 10 to 30 minutes. But I also have a few that take days, even weeks. The texture comes from layers and layers of bad paintings.

Do you use acrylics exclusively? What other media have you tried?

I use acrylics because, for me, oils are too messy. I also do pencil drawings and water color. And I do some computer design too.

I noticed you also create architectural models. How did you get into that? Which form of art (models or painting) do you enjoy more?

I make architectural models and do AutoCAD work for a few architectural firms in San Antonio and in New Braunfels, Texas. It’s just something I do to pay bills; I really have no say in the design. I just do what I’m told. I do enjoy making models, but they are always other people’s ideas. When I paint it is all my designs and ideas, it relaxes me and makes me forget about even having a job in the first place.

What's next on the creative horizon for you as an artist?

I want to do nudes. I also want to do crazy landscapes, and nature stuff. I see lots more of the architectural side of me coming out.

Is there anyone you wish to thank publicly?

I would like to thank Hannah, Planet of the (Independent Video) Tapes at www.gotape.net, and anyone who buys or likes Nemo art. And ya’ll can always stop on by if you are in downtown San Antonio, call 210-299-1599 for appointments.

To see Nemo’s work, visit his website at www.ArtByNemo.com . Contact him by e-mail at nemo_next@yahoo.com.

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ANOTHER COLORFUL LIFE ~ Charles J. Lombardo

Charles Lombardo is the CEO of Crimson Atelier Incorporated, a giclee printer in Hamilton, NJ. It would be difficult for you to find a better priced, high quality fine art printer in the U.S. A giclee (pronounced zhee-klay) is a reproduction of an original artwork made by scanning the art into the computer. The image is then sprayed onto canvas or paper using a high-quality, high density inkjet printer, making a near-exact match of the original. Crimson Atelier prints its giclees on museum-quality, archival 100% rag Arches paper or Fredrix canvas.

Charles was originally trained as a physicist, but developed an interest in art. He has done paintings occasionally in various media as well as restoration work, but never as a full time artist. He developed an interest in art and was encouraged by his wife to pursue opening a gallery in 1970. From that point on, Charles explored various aspects of the business of art until he settled on publishing (printing fine art).

The last several years have brought giclees to the forefront in the market, and Charles began publishing giclees. His business is unique in that an artist can order a single print or many prints of their artwork. "I felt that giclees were something artists could afford to print in small quantities," he said.

As a fine art publisher, Charles is willing to go the extra mile. "Other printers may scan your art and send the original back to the artist without matching the scan to the original, which leads to disappointment, " he said. The most difficult part of the printing process is "scanning a piece, looking at it on the computer screen, and knowing what changes to make based on what you’re looking at, to get a good giclee print. The spectrum of color you see on the computer screen is not the same as what you get on the printer. It’s always a challenge to get a really fine result that’s close to the artist’s original. But the most satisfying part is when you get it just right"

Apparently Charles has an eagle eye for color, is accurate with the Photoshop program, and has been blessed with the virtue of patience. But it can be frustrating if an artist doesn’t properly prepare their work for the scanning process. "All pastels should be ‘fixed’ (with fixative, a spray varnish that prevents smudging) to prevent flaking, and oil paintings should be thoroughly dry." This is especially important for artists who use the palette knife to apply color to the canvas. Those blobs of oil paint may feel dry to the touch but may burst when placed on the surface of the scanner. Give the art extra time to dry before you get it reproduced. Charles is able to reproduce paintings done with the palette knife technique up to ¼" in depth. Depending on the climate, drying time for oil paintings can vary.

The best results come from scanning original art. Charles can accommodate original work up to 36" x 48". Any larger original art should be submitted as a transparency. But he can reproduce a giclee up to 44" wide by 90-100" long. The Crimson Atelier staff is small, but big enough to get the job done. Artists can ship their work (making sure it is packed well), drop off their artwork at the Hamilton office, or meet with Miriam Jarney, Crimson’s business associate in northern NJ, to drop off or pick up the art at a more convenient location.

Recently, Charles opened a studio in New Hope, PA. The exact address of the new studio is available on the Crimson Atelier website.

Charles’ commitment to quality work at a fair price is a breath of fresh air to the art community. For complete information about Crimson Atelier and their services, visit their website at www.CrimsonAtelier.com .

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ANOTHER COLORFUL LIFE ~ Robert "Orca" Berendt

Robert has had some physical challenges in his life, but he did not allow those challenges to stop him from continuing to make art. Find out more about this Michigan artist and his art:

When did you discover you were an artist?

I have been dabbling in art for most of my life, but never was serious about it. I worked as a cartographer/photinterpreter for a mapping firm from 1988 until 1997 when having liver, kidney and respiratory failure (ARDS) put an end to that career. I was bored out of my mind when I found some scratchboard at a local Hobby Lobby in 2000 and decided to give it a try. From that day on my disability has become a blessing allowing me the time to create my artwork.

What artist(s) do you identify with most and why?

I don’t have an artist that I can really identify with. I do however like Escher and Dali because you have to look more than once at their works to see things you missed the first time around. There are just a handful of scratchboard artists out there that I feel do quality detailed work, Greg Murray, Martienna Richter, Diana Lee and John Karl all do a wonderful job. My goal when I first began scratching was to have the quality of work that these artists have achieved. I feel I am there or very close. Thinking more about this my mother was a huge influence on my art when I was young. If I showed her a picture of something I did, she would always say it was "nice", but more importantly she would always show me something I could have done differently and showed me how to achieve the result she was referring to. She too has a keen eye for detail and I guess you could say I got this from her.

How did you discover scratchboard art and why did it appeal to you more than other mediums?

Back in the early to mid 1970's I saw someone with scratchboard at an art show in Florida. The first time I saw it I fell in love with the look and texture of this form of artwork. I have tried painting in the past and a "hairy stick" and I do not get along. I fight it and it fights me right back. I did some airbrush work back in the early 80's and loved the process and I could get some good results from it. But back then airbrushing was not considered a fine art and I'm not sure if today it is as well. Scratchboard is easier than painting by far, and others will argue that it isn't. People are always telling me it is drawing in reverse or drawing negative space. I do not agree with either of these nor do I think in reverse when creating which is a question I am asked frequently. To me scratching highlights or "light" is as simple as someone adding shadows to a painting.

Why is depicting wildlife in your art important to you? Do you also create other subjects?

The scratchboard medium offers me the ability to get extremely detailed. I believe I have a knack for capturing an animals personality especially in how I portray their eyes. I have done a few scratches of other subjects but if I had the choice I prefer wildlife/animals. Having a background in wetland analysis as a cartographer/photinterpreter (mapmaker) I have seen first hand what can happen when an environment is changed and how it effects every aspect of that environment. Portraying wildlife is my way of getting others to hopefully think about these wonderful creatures and what can happen to them when their environment has been altered.

Why is it important for you to create painstakingly accurate renderings of animals? Why not a more simplified representation?

I have always been detail oriented and for me not to take the time to render as close to the subject as I can would all be a waste of that time. A simplified representation is just not good enough for ME. I know there are artists out there who think I am nuts for spending as much time as I do on a piece but to me the outcome is well worth it. There are some wonderful pieces of art out there that are simplified but for me it is not the way to go.

What is the most challenging part of your creative process? The most rewarding?

The most challenging is at the point where I have a few hundred hours into a piece and I get to the stage where I get deathly afraid I am going to ruin it. With paint you can go over an area many times until you get the results you are looking for. With scratchboard you are limited to the amount of "fixes" you do before the board is ruined. When I reach this stage I usually put the board away for a week or so and work on something else for awhile. When I come back to the first one I have a fresh set of eyes and continue without the worry of before.

The most rewarding is when I am at an art show and I ask the person browsing though my work if they are familiar with scratchboard. 75% of them do not know what it is or the process. I carry a small board to shows with me and show them the process I go through when creating my art and almost every time the person will put their nose to the glass to get a closer look. They thought it was black and white photography before my explanation. To see this reaction is extremely rewarding to me that they believe they are photographs and not hand scratched.

Do you create the scratchboard yourself, or do you buy it already prepared?

No, the scratchboard I use is Ampersand's Claybord Black (not misspelled) It is 1/8" masonite coated with white Kaolin Clay and then sprayed with black India Ink. It is extremely sturdy and will not bend or rip while scratching. Claybord is the only board I have ever used and I am delighted with the quality of this product. Now if I could only get them to use my work in their advertising!!

You mention on your website that you are disabled due to ARDS but that it is a blessing to you. How did you gain the perspective that it is a blessing and not a burden? In what way did ARDS alter the way you create art?

ARDS did not alter the way I create, it allowed me the time to be able to create. I was too busy with work and family to spend the time on artwork prior to my becoming ill. If I had never became so sick, I would have never picked up a piece of scratchboard. What most would call a burden has not been to me to an extent. There are other issues besides ARDS one of them being Ankylosing Spondylitis a form of arthritis that fuses the spinal column into a solid bone which is the most hindering to a normal lifestyle. During my ARDS, being in a drug induced coma for 2 months fused my spine years before it would have naturally. When I woke from the coma I could no longer move my head in any direction. What is good about this is I can sleep in a chair without my head bobbing, waking me up. Attitude is the most important thing in how you look at life and how you go about living it. I have been dealt a bad hand, but play it as if it is a royal flush. Scratching has given me a large part of my life back by being able to do something worth while, something that not only makes me happy but makes others appreciate life and art. That is a blessing.

How did you choose the name "Orca?"

Orca was and still is a screen name I have used on the computer for many years. Most everyone I associate with knows me as Orca and the name seems to be easier to remember than my real name "Berendt". My wife uses MyLdy on the computer so we put the two together to make MyOrca which is used as my domain name. Thinking about it now it is a unique name and sticks in the mind when trying to recall who the artist is/was.

What are the next steps along your creative path? What artistic goals have you set for yourself?

I want my artwork to be recognized and this is a difficult task to achieve. There are so many great artists out there who are published and have superb marketing skills or the resources to hire marketing professionals. Not having an art education may make things harder in the long run, but hopefully my artwork will stand on its own merits. I have been extremely lucky however in that in all the shows that I have done the past few years since starting scratching, I have only had to officially enter one, the very first show I did. The rest of the shows, the organizers have come to me and asked me to apply to their upcoming events. I think this is a very good sign and I believe I am on the right path although these shows are not top notch in the country, they will come in time.

To see Bob’s work, check out his website at http://www.myorca.com . You may contact him via e-mail at bob@myorca.com .

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ANOTHER COLORFUL LIFE ~ Peter Genovese

Peter Genovese is a feature writer for The Star-Ledger newspaper in Newark, NJ and author of the following books (which are available at Amazon.com): Roadside New Jersey, Jersey Diners, The Great American Road Trip, The Jersey Shore Uncovered, and NJ Curiosities: Quirky Characters, Roadside Oddities and Other Offbeat Stuff. He is a winner of various state press association awards and was also nominated for the Pulitzer Prize for his Rwanda series. He oversees and writes the Munchmobile series, which is a van that travels the Garden State in search of the best Jersey eateries, inviting Jersey residents along for the ride. I know because I rode along with him one year, and had the time of my life! To read more about the Munchmobile’s latest tour of food duty, visit http://www.nj.com/munchmobile/ , or purchase the Star-Ledger each Friday in May-August to follow the Munchmobile’s adventures. Peter also writes a weekly food review column, "Eat with Pete."

1. Were you a food critic prior to the Munchmobile?

Not really. I had written a book, "Jersey Diners,'' which was all about diners and diner food, but it didn't involve food reviews. I started writing "Eat with Pete,'' a weekly food review column that runs in the spring, fall and winter, about the time I started on the Munchmobile.

2. Describe how the Munchmobile got started.

It was the brainchild of Jim Willse, editor of The Star-Ledger. Don't ask me how one comes up with idea of driving a hotdog-topped van around New Jersey. It's an absolutely one-of-a-kind, brilliant idea.

3. How do you get new ideas for the Munchmobile? How do you incorporate your own creativity into each story?

Readers contribute ideas all the time, and I throw some of my own into the mix. The reason the Munchmobile has become so popular, I think, is because readers have considerable input in it. They tell us where to go, we publish their letters, they can win free t-shirts, they can call the Munchmobile Hotline (973-392-1765) and so on.

4. How do you keep the Munchmobile experience fresh and new every time?

It helps there's always a new group of Munchers along for the ride; incorporating their quotes and personalities helps keep it fresh. Plus, you can always write or approach the story different ways. Be funnier, more serious, more descriptive, whatever. No story "writes'' itself, but many times you let it go where it takes you.

5. Since the "best tasting" food will always be a matter of personal opinion, how do you choose the restaurants that make the "best places" list?

We get hundreds and hundreds of recommendations where to go every year. I pick places that sound promising, making sure they cover a wide geographic area. At the end of each trip, the Guest Munchers vote on their favorite dishes. Then I incorporate their comments and my own opinions into the story to give readers a sense why one place might be better than another. In the last Munchmobile installment of the summer, I always list my 15 or 20 favorite places. It's a subjective rating of the places I liked the most - and the ones I would most likely return to again.

6. What advice would you give to someone who wants to become a food critic?

The obvious advice is you must be familiar with every kind of food, which means you must at some point try everything. If you have food phobias or food dislikes, this is not the job for you. And devour as much food writing as you can - writers like Calvin Trillin and Jeffrey Steingarten, magazines like Gourmet and Savor.

7. What was it about NJ and quirky landmarks that inspired you to write "NJ Curiosities?"

It was inspired in part by my first book, "Roadside New Jersey,'' which came out in 1994, but mostly by all my wandering around New Jersey. I've spent most of my life here, and as a reporter I've gotten to see all of the state, and then some, and come to appreciate it for what it is. It's fun and funky, definitely not your average state.

8. What is it about the unusual that captivates you? How do you know when you’ve found "it:" that thing that makes you say, "People need to know about this?" What motivates you to keep searching for "it?"

In terms of what I do at the Star-Ledger, it's not so much the unusual I'm looking for as the different, the unique, or even a fresh look at a familiar topic. Two of my favorite stories were on the Pulaski Skyway and Bayway Refinery - two quintessential Jersey landmarks. Everyone's driven on the Skyway or past Bayway, but how many know what they're about? I wanted to open readers' eyes to how unique and amazing the Skyway and Bayway are. In the end, I'm motivated, like any other reporter, in finding good stories - wherever there are, whatever shape they take, whether they're in your backyard or in some part of New Jersey you've never heard of or been to.

9. What have your travels and writing taught you about East Coast American culture?

I don't know if there is an East Coast culture, but there certainly is a New Jersey culture and a New Jersey attitude. We're supposed to be fast-talking, gruff, maybe a little rude, but New Jerseyans, deep down, are hard-working, straight-talking people. And proud of where they're from and where they live. It's no longer a source of shame to be from the Garden State. I tell people I'm from Trenton - and sing the praises of New Jersey - every chance I get.

10. What other creative gifts do you have besides writing?

That's it! I've taken the photos for all my books. But I don't think that requires any special talent. Use a good camera and good film.

11. From the wild mountain man to Rwanda, it seems like you’ve covered it all. Which assignment touched your heart or stood out the most and why?

I've been to a lot of places and covered a lot of different stories, but many reporters have done so much more, and done it better. One of the most touching assignments was writing about a little girl named Melissa stricken with cancer. I wrote about her battle with the disease and how much she loved the characters in (the movie) "Toy Story.'' Tragically, she passed away. The follow up story began, "Somewhere, Buzz Lightyear is crying.'' She was a funny, brave, great kid. I hope the stories did her justice.

12. What brave new vistas are on the horizon for Peter Genovese?

If you're a reporter or feature writer, each day brings something new. You never know how the day will turn out. For me, there's always a story to tell, or a book to write. I just finished a book titled "The Food Lover's Guide to New Jersey,'' about where to find good food around the state - restaurants, delis, gourmet shops, markets, online sources, etc. It'll be out later this year. Now I'm about to start a book about Florida, and I'm sure other books are down the road. I could easily choose not to write books and have a whole lot of spare time on my hands as a result, but I need to keep writing. It keeps me focused, it keeps me happy, and it keeps me sane!

You may contact Peter Genovese via e-mail at pgenovese@starledger.com . (Keep in mind that late Spring and the entire Summer are prime Munchmobile seasons, and he will already be swamped with e-mails!)

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