Book covers are the first visual encounter readers have with a story, acting as a gateway to the narrative within. For authors, seeing their story encapsulated in a single, compelling image is always a moment of excitement. Ruth Behar, author of Letters from Cuba, experienced this firsthand when she received John Parra’s cover art. It beautifully captured the hopeful spirit of Esther, the protagonist, a Jewish-Polish refugee finding a new life in Cuba during WWII.
Intrigued by the artistic process, Behar interviewed John Parra, an award-winning illustrator, to delve into the creation of this evocative cover. This conversation offers insights into how illustrators translate words into images, and how a single piece of art can encapsulate the heart of a story, inviting readers to learn and grow with the narrative.
RUTH: Can you describe your typical starting point when creating art for a book cover? Is your process consistent, or does it vary with each project?
JOHN: My process always begins with immersing myself in the story. Reading the book deeply provides a wealth of creative ideas and sets the direction. I then move to visual research, gathering photo references of people, settings, architecture, clothing, and relevant period details. Inspiration also comes from diverse sources like music, food, films, poetry, and design. I compile a word list based on this research, and then the sketching begins – that’s when the creative journey truly takes off.
RUTH: After reading Letters from Cuba, did a cover image immediately come to mind, or did you explore various concepts before settling on the final artwork?
JOHN: For Letters from Cuba, the Penguin Random House art direction team provided an initial cover layout idea. I worked with that concept but also presented alternative sketches to offer options. Even with a primary concept in place, the art director and I refined it through several versions before reaching the final design. This iterative process is something I genuinely enjoy, especially when collaborating with talented people. This collaborative approach allows the cover image to grow and learn from different perspectives.
RUTH: What materials do you use to create your distinctive art?
JOHN: Many assume I paint on wood because of the textured look in my paintings, but I actually work on illustration board. My technique involves layering acrylic paint onto the board – about four layers. Then, I sandpaper it to create a worn, vintage feel for the background. Once the foundation is ready, I transfer my sketch and use masking techniques to paint different elements. The final stage is adding details and shading to bring the characters and scenes to life. This meticulous process allows for depth and richness in the cover image, enhancing the learning experience for the reader by drawing them into the story’s world.
RUTH: Tell us about your research process for capturing the Cuban setting. Have you visited Cuba? If not, what inspired your depiction of the island?
JOHN: While I haven’t been to Cuba, thorough research is crucial to accurately portray the setting and its people. My wife, Maria, who is from Puerto Rico, has also been a significant influence. Cuba and Puerto Rico share deep connections in environment, language, cuisine, music, architecture, and history. Even their flags reflect this kinship. The words of Lola Rodríguez de Tió, a poet and activist, resonate deeply: “Cuba and Puerto Rico are as two wings of the same bird. They receive flowers and bullets into the same heart …” This shared cultural landscape helped me envision Cuba’s essence for the cover illustration, ensuring the image is not just visually appealing but also culturally informed and educational.
RUTH: I love how the ocean dominates half the cover. It reminds me of Esther’s powerful line in the book, where she describes the ocean crossing as if “the ocean is crossing me.” Did that line resonate with you as you were creating the art?
JOHN: It’s interesting you mention that – I actually underlined that very line in the book! Growing up near the ocean in Southern California, I often felt a sense of awe and insignificance when looking at its vastness. The ocean is both beautiful and intimidating, yet it also embodies hope and future possibilities. Esther’s journey mirrors this duality. The ocean in the cover image is not just a setting, but a symbol of transformation and the daunting yet hopeful journey of learning and growth that Esther undertakes.
RUTH: The cover seems to blend three significant locations in Esther’s world: Poland under gray skies, Havana with its lighthouse and Capitolio, and Agramonte, with its vibrant countryside. How did you approach merging these places into a single artwork?
Map-like composition in Letters from Cuba cover art by John Parra, representing Poland, Havana, and Agramonte
JOHN: I’ve always been fascinated by maps. I love studying geographic areas and imagining journeys through different places. Representing these locations on the cover gives a sense of travel and transition. Movement, both physical and metaphorical, is essential for growth, learning, and discovering our path and voice in life. The cover’s composition acts like a visual map, guiding the reader through Esther’s geographical and emotional journey, enhancing their understanding and learning from her experiences.
RUTH: Considering our shared Latinx background, I’m curious if your thoughts on the immigration crisis influenced your art for Letters from Cuba.
JOHN: Some years ago, I traced my family’s roots, mapping migrations from Chihuahua, Mexico, to the US on my father’s side, and from Slovakia to the US on my mother’s side. Both families sought new beginnings in a land of opportunity. This theme of immigration is ongoing. Immigrants often come seeking work and education, or fleeing difficult circumstances. Their hope for a better future resonated deeply as I worked on this project. This hope, this drive to learn and grow in new environments, is a central theme in the cover image and in Esther’s story.
RUTH: You’ve illustrated numerous children’s books and are now writing your own. How do words and images come together for you in your creative process?
JOHN: The book I’m currently writing and illustrating is about a boy spending a day with his landscape contractor father, inspired by my own childhood experiences. I started with a story outline, but as a visual thinker, images immediately formed in my mind. My process is now a blend of writing and art, happening almost simultaneously. It’s a joyful balancing act between these two creative forms. This integrated approach mirrors how a book cover works – a synergy of visual art and the written word to create a richer, more engaging learning experience for the reader.
RUTH: Thank you so much, John! And to our readers, I encourage you to explore the breadth of John’s remarkable artwork!
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John Parra is an acclaimed illustrator, celebrated for his Latino-themed children’s picture books. His numerous accolades include Pura Belpré Honors, The Christopher’s Award, and The Golden Kite Award. John’s original art has been featured in galleries and museums across the US and internationally, and is part of many private collections. He is an advocate for art and reading education, teaching at the Carnegie Art Museum and speaking at schools and literary conferences. His recent picture books include The Power of Her Pen: The Story of Groundbreaking Journalist Ethel L. Payne, Little Libraries, Big Heroes, and One Is a Piñata: A Book of Numbers. Explore more of John’s work at johnparraart.com. Follow him on Twitter @johnparraart.
