The Society of Children's Books & Illustration lovers Volume 4 Nov 2013 | Page 5
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The Society of Children’s Books & Illustration Lovers – Newsletter #4 – November 2013
take my time. I usually limit my materials to a few coloured pens,
and a dip pen and ink.
Strangely enough, my best drawing happens when I am
uncomfortable. If I feel time pressure, or I’m freezing cold, or
getting in the way of passers-by, then something interesting
usually happens. It's something to do with thinking less about
getting the drawing technically correct, and just reacting in a more
instant way.
I enjoy it if people stop to chat, or look over my shoulder; it's all
part of the fun. But if I really don’t want to speak I have my ‘Don’t
talk to me!’ body language, it usually works!
Sometimes the drawings stay in my sketchbook for months or
years before I realise I have a character or story idea, sometimes
the drawings just stay in my sketchbook, and that’s OK too.
It’s rare for me to illustrate someone else’s text, but recently I was
asked to illustrate a Michael Morpurgo story. It was set in Venice,
so to find my way into the story I went drawing in Venice. Some of
the sketches I did there almost became the spreads in the book. It
was such a pleasure to illustrate. I am now working on another
Michael Morpurgo book set in a small village in Switzerland, so
I’ve just come back from a drawing trip there.
Words
Sometimes I think the idea will go nowhere, and then suddenly I
have a breakthrough
The interplay of words and pictures works so well in your picture
books. At what stage do the words come into your books? Do you
start off with a large word-count that gets pruned down as the
pictures develop, or do the words gradually build-up along with
the pictures?
I usually start by playing. This involves drawing a character in
different poses and situations and seeing what happens. I add
words here and there and gradually the words and pictures
develop into a story.
It’s not always easy, there are lots of ups and downs, sometimes I
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