Joe Mathieu

 Joe Mathieu  ( Born January 23, 1949 ) is a freelance artist who has provide d illustration s for SESAME STREET book s & merchandise since 1972 , a year after graduating from the Rhode Island School of Design. Mathieu remember s : " I spent the year following graduation building up my portfolio . Then I went to New York City & I was scare d to death . SESAME STREET was just start ing & wanted someone young & new to set the style for their book s, that ’ s how I ended up at Random House  . That led to  JIM HENSON  & t h e Muppet s , & then we really got going , I couldn ’ t believe how fast . "

Some notable title s in clude  Cookie   Monster  & the Cookie Tr e e, The  Ernie  &  Bert  Book & The Exciting Adventure s of  Super   Grover  which was adapted into a video story book. He also provide d art work for the adaptation of SESAME STREET episode 1839 published as ''[http://muppet.wikia.com/wiki/I%27ll_Miss_You,_Mr._Hooper  I  ' ll Miss You, M r. Hooper ] & the 1978 special Christ mas Eve on  SESAME   STREET ''.

His most extensive contribution s have been to The  SESAME   STREET  Dictionary in 1980, & hundred s of feature s & cover s for SESAME STREET Magazine over the year s. The dictionary feature s illustration s for 1, 300 word s over the course of 250 page s. When the book was re distribute d in volume form, Mathieu provide d additional art work for that as well. It has been printed in a Dutch translation & was re issue d in English in 2004.

As an early illustrator for SESAME STREET, Mathieu helped set a precedent for character style. This is evident in the 1979 Character Style Guide which was put together as a reference point for licensors on how the SESAME STREET Muppet s should be rendered. Around 2004, Mathieu made the transition from his traditional reflective art , to a digital medium. Most of his work for SESAME STREET book s after this time has been digitally rendered at some point in the creation process.

He has also illustrate d other SESAME STREET merchandise, such as the lyrics poster s for ''[http://muppet.wikia.com/wiki/Sing_Yourself_Silly Sing Your self Silly ! ] & [http://muppet.wikia.com/wiki/Monster_Hits! Monster Hit s ! ], SESAME STREET Live'' program book let s , & a 1983 collectible Christ mas plate made by Gorham.

Other chil dren ' s book s have include d  The Eye Book  ( 1998 ) &  The Tooth Book  ( 1989 ) by Theodor Geisel under the pen name Theo. LeSieg. He also illustrated book s based on ''[http://muppet.wikia.com/wiki/The_Wubbulous_World_of_Dr._Seuss The Wubbulous World of Dr. Seuss ] : The King ' s Beard & The Gink''. His affection for SESAME STREET is evident in Busy City, a no n - SESAME STREET book written by Mathieu featuring a set visit to t he C T W production. I n  Elmo  ' s Lift - & - Peek Around the Corner Book from 1 996, Mathieu drew Baby Natasha reading 1 of his book s , Big Joe ' s Trailer Truck from 1974.

Quote s

 * " JIM HENSON  was the art director — he  sat down with me & explained to me what  he  wanted .  He  gave me free rein to watch the show being taped, which I did a million time s . I had carte blanche to visit the Muppet morgue — literally a morgue o f o ld Muppet puppet s . I watched how personality was breathed into the puppet s b y the puppeteer s . I used to go to the show taping s , alone for the most part , & sit there & sketch . We didn ’ t have a color TV , no tape machine s . I had to draw in real time . "


 * "Big Joe ' s Trailer Truck was my first big solo thing . I ' m an illustrator & I had an opportunity to write a book . I never wrote a book before, but I guess I was just hot because of my association to SESAME STREET . I didn ' t have a lot of time to make up a town , so I just drew the town I lived in . I didn ' t think everyone would recognize it , but they did . That really took off , it was translated into a dozen languages , which I never dreamed of . That was my big hit . I had so many opportunities to work with great writer s . I even did a couple of D r . Seuss book s . "


 * " I fought [ digital illustration ] every inch of the way . Talk about getting out of your comfort zone — I couldn ’ t even send an e - mail . I tried everything I could to trick people, but the fact of the matter is , if it ’ s on paper , the young art directors didn ' t want to see it . They ’ d never seen paper art before . They wanted to do changes on finished art , which for years was sacred . You had to make changes in the sketch phase . There was no way an illustrator  could compete without working in digital . The rules had changed dramatically over night . It became harder to find good paper & paints . Paints I used since the ’ 60 s , ( & ) the companies , went out of business . I had completely embraced digital ork , I never wanted to see a bowl & brush again . I never wanted to go back to all those limitation s . "
 * " I have to be ready to do either 1 [ traditional or digital art ] . It ’ s a different look, for certain things the traditional way is more appropriate . You can do a really beautiful book traditionally for a few that can afford it . But the mass market is there for ki ds like we started catering to with SESAME STREET . I can still do my very best work digitally , & the book can be treated more casually . I like doing both . In the end , traditional style has a certain depth , softness , subtlety that ’ s not quite in the digital world . "
 * " My name is pronounced either the American way or the French way . . . My father, who was in the 5th Marine division on Iwo Jima , would only allow the American version . I like either , but although my family always use s the American pronunciation , I always quietly preferred the French . I will normally use the American unless I am in France or Canada . Please your self on this one . "

External link s

 * Official site
 * Norwich Bulletin Q&A