Eric Velasquez

Illustrator Eric Velasquez was born in Spanish Harlem and he grew up in Harlem.  Eric graduated from the High School of Art and Design and earned his BFA from the School of Visual Arts. He also completed a year of studies with Harvey Dinnerstein at the Art Student’s League.

Eric has been illustrating for 30 years. His recent work includes Schomberg written by Carol Boston Weatherford, Ruth Objects by Doreen Rappaport, and She Was the First by Katheryn Russell-Brown.

Eric’s first picture book The Piano Man by Debbie Chocolate, published by Walker & Co. won the Coretta-Scott King/John Steptoe award for new talent. He has since illustrated many children’s books including The Sound that Jazz Makes by Carole Boston Weatherford, which was awarded the CBC-NCSS Carter G. Woodson award in the field of Social Studies. Eric was recently awarded an NAACP Image award for his work in Our Children Can Soar which he collaborated on with 12 notable illustrators of children’s literature.

 Eric also wrote and illustrated Grandma’s Records and its follow up Grandma’s Gift, which won the 2011 Pura Belpre Award for illustration and was also nominated for a 2011 NAACP Image Award.

Eric Velasquez lives and works in New York. He teaches book illustration at FIT (The Fashion Institute of Technology) in NYC. 

See Eric's  article,  Diversity and Engaging the Reluctant Reader, featured on Reading.org

Reviews

Outspoken

“[Robeson’s] strength of character as an “unbending truth teller and troublemaker” comes through clearly in the illustrations as well as the words; in montages of images, many based on contemporary photographs, Velasquez poses him heroically, whether in charismatic performance, speaking out defiantly against racism and social injustice, or, finally, broken down by poor health.”—Booklist, Starred Review

“In comprehensive first-person free verse and oil portraiture, Boston Weatherford and Velasquez reverently draw the life of multifaceted performer, athlete, and activist Paul Robeson (1898–1976) via four acts: Youth, Artist, Activist, Erased. Propulsive text punctuated with song lyrics, many from African American spirituals, record key moments, including the early death of Robeson’s mother (“Sometimes I feel like a motherless child”). From college athlete to stage and film actor, and rising to international celebrity, he became “an emissary for universal struggles,” singing across Europe and the Soviet Union, and later experiencing repercussions for supporting progressive movements. Without shying away from the varied layers behind his public controversy or the details behind his attempted suicide, the creators painstakingly detail history’s intersections in one activist-icon.”—Publishers Weekly

“Weatherford and Velasquez explore actor Paul Robeson’s remarkable achievements. Written as a “one-man show” in the first person, this tale in four acts highlights the phases of Robeson’s remarkable life (1898-1976). He adored his father, who was born into slavery and gave Robeson every chance to develop mentally, physically, and spiritually. Robeson excelled as a scholar and athlete, and in college he developed his skills as a performer. Although he studied law, other opportunities led him to the stage, where his acting and singing moved crowds both at home and abroad. He took advantage of his fame to speak out against oppression wherever he went. Robeson enjoyed positive experiences in the Soviet Union, where he found that racism didn’t curtail his life as it did in the U.S. When the Red Scare villainized Soviet and Communist sympathizers, Robeson refused to denounce communism; the government took away his U.S. passport, and his life and livelihood became limited. Lengthy verse, presented in double columns and a small typeface, is accompanied by powerful, painterly images, many based on actual photographs, set against a white background. Informative, insightful, and comprehensive, this book will be a valuable addition to reference shelves, classrooms, and anywhere older elementary children are drawn to learning more about legendary American changemakers. This inspiring volume leaves nothing out. (timeline, source notes, bibliography, copyright acknowledgments)”—Kirkus Reviews

Going Places: Victor Hugo Green and His Glorious Book

“As a mail carrier in New Jersey in the early twentieth century, Victor Hugo Green was known for his “great get-up-and-go,” and he used his resourcefulness to carefully compile information about safe and friendly accommodations for Black folks traveling in the United States during Jim Crow segregation. The result was the Green Book, which started as a small pamphlet in 1936 that focused on the New York City area but quickly grew to detail welcoming establishments in the biggest cities of every state until its last publication in 1966. With lively language that hovers between poetry and prose, Bolden’s biographical account carefully introduces the intersections of historical preconditions that led to the creation of Green Book: the pervasive harassment and danger Black people experienced during Jim Crow; the growing Harlem Renaissance; the shifts in modes of transportation during the Great Depression; and Green’s disposition and resilience. Velasquez’s smooth oil paint illustrations radiantly depict everyday Black folks on the go, often paired with highly detailed portraits of car models of the era, while collaged snippets of relevant media, such as postcards and newspaper headlines, contextualize the flow of information around the Green Book’s creation and use. Primary source evidence of how dearly Victor Hugo Green longed to see the day his prized creation would no longer be necessary poignantly connects Green’s life to the broader history of civil rights movement. Backmatter includes a timeline, additional information about Green, citation notes, and suggested further resources for young readers.” —Bulletin of the Center for Children’s Books, Starred Review

“Velasquez grabs readers right from the start with a book jacket saturated with color and details of a 1940s family ready to leave on a trip in their blue Packard, against the signature color of the Green Book. It’s followed by an equally inviting title page. Bolden opens her story with an introduction to Victor Hugo Green, New Jersey letter carrier. He takes his job seriously, and he believes in tackling problems with solutions. It’s the Great Depression and even though times are tough, people want to travel. Black Americans are traveling for business, vacation, family events, and special occasions, encouraged to purchase cars to avoid the hardships and dangers of Jim Crow laws and sundown towns. Green sees a need for better communication to help travelers stay safe, doing extensive research. His first effort is “The Negro Motorist Green Book,” a pamphlet published in 1936, with information for safe travel in and around New York City. By 1940, the booklet is 40 pages long and includes major cities in every state. Bolden has perfectly combined the painful story of Jim Crow and segregation with the strength and determination of Black Americans to live a full life. The illustrations are combined with recreated newspaper articles, actual Green Book covers, and photographs. The effect is to pull readers along on this American experience known too well to some and a revelation for others. A time line, notes, selected sources, and specific resources are appended. A highly recommended addition to any collection. Pair this book with Alexander Clavin’s Ruth and the Green Book for a real powerhouse introduction to this important part of our shared history.”—School Library Journal, Starred Review

“Enter the world of Victor Hugo Green and his famous  Green Book for Black travelers. Green delivered mail in Leonia, New Jersey, even after moving to Harlem with his wife, Alma. During the Great Depression, new highways and turnpikes and newly inexpensive car models were driving more families to own cars. Black travelers had extra stress and danger to worry about when traveling through unfamiliar, often hostile terrain. Black-owned newspapers and word of mouth kept them informed on how to stay safe. Green “got busy problem-solving,” gathering information from people and publications into one guide, the  Green Book, which started in 1936 as a pamphlet covering New York City and neighboring towns and grew steadily to cover the entire nation. The story extends beyond Green’s death in 1960 to end on the hopeful note of the civil rights legislation Green had hoped for, when, with the passing of the Civil Rights Act of 1964, discrimination related to transportation services was outlawed. Bolden’s bold, strong, conversational prose sets the scene, representing courageous, talented Black people strategizing to keep their dignity in an unfair world. With his signature painterly art, Velasquez beautifully brings to life settings, families, and communities through varied compositions and scrapbook-style pages. Text and illustrations incorporate primary source documents—maps, advertisements, excerpts from newspapers—that add to the authentic feel.  A richly layered, powerful introduction to an entrepreneur and the problems he solved.” —Kirkus Reviews, Starred Review

“Victor Hugo Green ‘not only believed in facing a problem but also in doing something about it.’ In descriptive text—occasionally featuring alliteration and rhyme—and an upbeat voice, Bolden recalls the Black mail carrier from Harlem who recognized that, following the Great Depression, highways were being built, and Black Americans were going places. But with Jim Crow laws and sundown towns, travel wasn’t always safe. After gathering information about businesses that welcomed Black travelers, Bolden explains, the Harlem mail carrier assembled his tips in a guide published as the Green Book. The informational picture book continues with a brief history of Victor Hugo Green and his travel guide, which ceased being published after the passage of the Civil Rights Act of 1964. An early quote by a hopeful Green expresses his foresight for a time when his guide is no longer needed. Velasquez lends a fitting and beautiful scrapbook effect to the story through a juxtaposed blend of vintage scenes in his signature lush oil paints and recreations of black-and-white photographs, color postcards, newspaper clippings, and images from the original editions of the Green Book. Back matter, including a time line and more information about Green, fills in details about the innovator’s life. An effective way to address Jim Crow laws and segregation as well as resourcefulness and determination.”—Booklist, Starred Review

“Victor Hugo Green (1892–1960) was a mail carrier whose work took him all across New Jersey. Though well-loved on his routes, Green knew the danger he faced as a Black man anytime he went somewhere unfamiliar. This prompted the energetic Green, who “had great get-up-and-go,” to create a guide for Black people to find safe places to stop, eat, and stay when road-tripping on the nation’s newly built highways and turnpikes. Called the Green Book, this handbook grew from “just a pamphlet” listing welcoming places in the New York City area in 1936, to a 1940 edition featuring amenities in large cities in every state plus Washington, DC, and standing as a useful—and possibly life-saving—tool for Black travelers well into the 1960s. Velasquez’s scrapbook-style, painterly vignettes capture period detail and nimbly complement Bolden’s conversational free-verse text (“These travelers, /whether going places with smiles /or with tears in their eyes, /could face / hassles, humiliation, hardships”). Back matter includes a timeline, source notes, and selected sources.” —The Horn Book

Mambo Mucho Mambo: The Dance That Crossed Color Lines

“Velasquez's illustrations send sparks flying off each full-bleed spread. There's nothing static in these dynamic, full-movement portrayals of humans expressing the unadulterated joy of popping music and uninhibited dancing. The author's note includes historical and biographical information. Fiery and rhythmic storytelling surges to the beat of the conga-a must-have selection for all ages.”—School Library Journal, Starred Review

“In Robbins and Velasquez’s hands, this early challenge to segregation makes for a lively, compelling piece of history.” —The Horn Book

“Dynamic text goes hand in hand with vibrant, motion-filled illustrations to tell the story of the Latin sound that swept through New York and then the country in the 1940s and ’50s. . . . Exuberant, just like the dance.” —Kirkus Reviews

“Velasquez’s characteristic, near-photorealistic illustrations, rendered in oil paint in a palette reflecting the time, add a dynamic fluidity to the historical atmosphere of this enlightening narrative nonfiction title.” —Publishers Weekly

She Was the First

"Velasquez’s vibrant watercolor illustrations capture Chisholm’s determination and passion for improving life for Americans with the fewest advantages." —The Horn Book

"Velasquez's watercolor illustrations give a good sense of Depression-era Brooklyn and Barbados as well as emphasizing Chisholm's closeness to her family."—Booklist

"Velasquez’s watercolor illustrations are full of life, using texture and light to capture vivid and varied scenery, personalities, and emotion." —Kirkus Reviews, Starred Review

"Russell-Brown, with the help of Velasquez’s expressive watercolor art, vividly brings Chisholm’s experiences to life with storytelling that will appeal to a wide variety of ages—those both aware and unaware of her legacy."—School Library Journal

Ruth Objects

"[A] very handsome addition to the growing collection of RBG literature for young readers."—Publishers Weekly

"A welcome addition to any library’s picture book biography collection."—School Library Journal

"Velasquez’s paintings ably mix personal moments and monumental poses. . . ." —Bulletin of the Center for Children's Books

"Velasquez’s arresting jacket portrait of Ginsburg, superimposed on a facsimile of the U.S. Constitution, conveys a woman of purpose. . . ." —Booklist Online

"Per series formula, there is no title on the front cover—just Velasquez's oil portrait depicting her intensity and serious demeanor. Interior illustrations focus on Ruth in every phase of her life and perfectly match the text."—Kirkus Reviews

"Velasquez’s striking paintings may fill the whole space or be divided into panels depicting a series of events."—Booklist

Strong Voices

"Eric Velasquez's dramatic illustrations allow readers to even further connect with the era being portrayed, leading to a meaningful framework that will help readers understand the speeches' importance."—Booklist, Starred Review

"An important addition to American history collections."—School Library Journal

"A golden celebration of the multicultural voices who demand that the U.S.—and the world—do better."—Kirkus Reviews. Starred Review

New Shoes

Winner of the 2016 Jane Addams Peace Prize

Schomberg: The Man Who Built a Library

"Schomburg’s ambitions, scholarship, and accomplishments were tremendous . . . and Weatherford and Velasquez more than do justice to them."—Publishers Weekly, Starred Review

"This excellent work of history illuminates Schomburg and his legendary collection for a new generation."—School Library Journal, Starred Review

"The remarkable life and achievements of the Afro-Puerto Rican scholar, collector and curator Arturo Schomburg have ideal chroniclers in Weatherford (Freedom in Congo Square) and Velasquez (Grandma’s Gift)." —The New York Times

"Two African-American scholars have written a poetic biography of Arturo Schomburg, the immigrant who created a library in Harlem to prevent the disappearance of African voices from history."—Shelf Awareness, Starred Review

"A must-read for a deeper understanding of a well-connected genius who enriched the cultural road map for African-Americans and books about them."—Kirkus Reviews, Starred Review

"Velasquez’s portraits of these talents are consistently heroic, while pictures of Schomburg himself . . . are warm and full of pride."—Booklist, Starred Review

Jesse Owens: Fastest Man Alive

"Sometimes calling to mind old-time photographs, Velasquez's pleasingly grainy pastels easily convey the movement and speed, determination and triumph at the core of Owens's uplifting story."—Publishers Weekly, Starred Review

"Using pastels on rough paper, Velasquez mixes scenes of the muscular Owens in action with vignettes of other significant moments, aptly capturing the drama and excitement of the occasion."—Kirkus Reviews

Octopus Stew

"With love and humanity, Velasquez once again affirms young Black Latinx boys' identities and family experiences."—The Horn Book, Starred Review

"Realistic oil paintings bring to life the action and excitement of encountering a giant octopus."—Booklist

"A hilarious read-aloud that could be read during storytime."—School Library Journal, Starred Review

"Oil paintings . . . have a lush, generously sculptural feel—a heightened comic realism that’s perfect for this domestic tall tale, its multi-armed nemesis, and the wonderful gatefold twist that occurs at the action’s height."—Publishers Weekly

"A delightful modern tall tale sure to entertain and inspire readers to share (and embroider) their own stories."—Kirkus Reviews