Monday, 28 August 2017

The Illustrator's Busman's Holiday : Garry Parsons

Among the things I enjoy seeing posted on Twitter are illustrator’s roughs for the projects they are working on. I’ve always been curious to know how other illustrators develop their work because everyone’s process of working is unique. These initial character sketches and pencil outlines sometimes give you a hint of that process and would have mostly gone unseen in the days before social media.

Recently my attention has been drawn to posts that have included observational drawings, city scenes or landscapes and even life drawing, all of which appear separate from work projects and made out of studio time. These drawings are often accompanied by a text or a title alluding to the illustrator being on holiday, travelling or simply having a few minutes to spare in a coffee shop or killing time on a station platform. Some of these drawings are superb!

Hannah Warren - Montenegro Sketch book and "Black Lake"

I have always drawn (well ever since I can remember anyway) and when I visit schools today I often tell the children that I have been practicing my pencil skills since I was first born. (I draw a baby version of myself to illustrate this). So when I studied painting at art college it wasn’t a challenge for me when the tutors encouraged the students to carry a sketchbook with them at all times because I already did and still do today. So, when I’m travelling or going on holiday, my bags always include drawing equipment and sketchbooks, which appear before swimming trunks and passports on my packing list.

Garry Parsons - El Turbón, Spain

On a recent trip to Somerset with my seven-year-old son, we stopped on a hillside, got a blanket out of the car and sketched the landscape together. My son confidently explained to me that there was “no imagination needed” because it’s all there, right in front of you – the hills, the farm, the trees and cattle – and “you don’t have to make it up!” 

Garry Parsons - Kilve Beach, Somerset.                                             Guy Parker-Rees - Sussex Downs

He was right, of course, in some ways. Drawing on a hillside, there are no deadlines, art directors, editors, sales team or authors to consider. No one was going to suggest I use a different colour or change the eyes on the cows from circles to dots.  What there is, though, is a quiet joy in just sitting and drawing what you see, especially on a warm evening in a beautiful place with another artist, even if they are just seven. But, despite having carried a sketchbook with me most of my life and always feeling the urge to sit and draw, this was the first time I’d really considered what it was that actually compels me to do it. And it’s a curious question to ponder.  I can come up with many different answers, most of them valid in some way or other, but what it really comes down to is feeling a sense of ease through drawing what you see. It’s like a necessary nourishment that’s unique and personal.

Garry Parsons - Santa Cruz de la Serós and Luz-Saint-Sauveur.

So after my son’s encouraged revelation I made a mental note each time I spotted a landscape or holiday sketch posted by an illustrator on Twitter to ask them the same question, what is it that motivates them to continue drawing “out of studio hours” when probably, like me, they spend most of their day drawing anyway.
Guy Parker-Rees told me: “I love drawing and painting landscapes when I have the time and I go life drawing every week. Life drawing is the very best way of keeping that loose connection between eye and hand. I love the freedom to let go and experiment when doing my own work. No brief, no deadline, just enjoying the process. I'm sure it always feeds back into my illustration work: it's a way of trying things out, maybe using different media or techniques.
I think it's important to keep experimenting with different ways of working in order to keep your style fresh and to make sure it keeps growing and evolving.”

Guy Parker-Rees - 20 minute life drawing

And the dexterous Hannah Warren told me:
I draw to relax and to think and to observe and to remember. Drawing for yourself is very different and private and many things just stay in the number of small sketchbooks. It's good to have something that’s just for you. Some things though, are used as a basis for commissioned work, like an interesting person walking their dog, someone smoking on a wall, a couple having an argument. I like to look a lot at body language and how people just go about their lives. My work has so many people in it because that’s what I’m most interested in. As for drawing “on holiday” this is again to record a new place.”

Hannah Warren - Sketch

I’ve seen some beautiful work worthy of high praise from many other illustrators too, Adam Stower and Thomas Docherty to name a couple. Wonderful artists with acutely refined drawing skills, the depth of which just might have been concealed within the confines of picture book characters or a commercially designed illustration job but glimpsed in these “out of studio” works.
So if you enjoy a good drawing, these are well worth looking out for on your Twitter feed!
Garry Parsons - Roda de Isábena
But now I’m left wondering if authors do this too? Do they sit on the beach on holiday in Minehead conjuring poetry, psalms or haiku just for pleasure? I’m curious!


Guy Parker-Rees is the award-winning illustrator of Giraffes Can't Dance which has sold over 215,000 copies. He is extensively published by Orchard, Walker and Little Tiger. Visit Guy's website HERE and follow him on twitter @Guyguyyug 

Hannah Warren is an illustrator and bike lady who lives and works in South London and has recently worked for The New York Times and The Sunday Telegraph as well as in publishing. Hannah's work has also been animated for broadcast. Visit Hannah's website HERE and follow her on Twitter @_hannah_warren_ 

Garry Parsons is an award winning illustrator of children's books including the best selling picture book "The Dinosaur That Pooped Christmas" by Tom Fletcher and Dougie Poynter. Visit Garry's website HERE and follow him on Twitter @ICanDrawDinos

Monday, 21 August 2017

What Author Has Inspired You Most? by Jane Clarke

For me, it’s got to be Gerald Durrell.  As a child, I read all of his books I could get my hands on at the local library, then gradually built up my own collection:

This summer, I’ve treated myself to a Durrell-fest, re-reading them in the order they were written, starting off with The Overloaded Ark which was first published in 1953 (the year before I was born). 
The books are products of their times, so some aspects are shudder-makingly politically incorrect, but overall it struck me that the qualities that I enjoyed and still enjoy in Gerald Durrell’s writing are ones I enjoy in all books, and subconsciously aim for when I’m writing picture book texts:
  • The tone is nice and friendly. However eccentric and/or different people - and animals - are accepted for who they are and portrayed sympathetically and with humour - even if they are members of your family.

My Family and Other Animals 1956
  • They create clear pictures in your mind (even where there are no illustrations). Each person and animal has a distinctive voice, and often a really interesting name, like Eggbert: 

 Egbert illustrated by Ralph Thomson from The Drunken Forest, 1956
  • The stories are bursting with adventure, energy and enthusiasm (and so are the titles).

Three Singles to Adventure, 1961

  • There’s a sense of purpose - the message of conservation is well ahead of its time, and that message is still loud and clear in one of his last books, written with his wife Lee: 

 The Amateur Naturalist, 1982

For me, Gerald Durrell's writing inspires awe and wonder for the natural world and a desire to find out more about every creature.

This summer, for the first time, I read Gerald Durrell: The Authorised Biography by  Douglas Botting (2000). I discovered that, as well as being a charming and articulate champion of wildlife, the man behind the books was a complex and often difficult character. Writing didn’t come easy to him.  

As a child, I often wished I could meet Gerald Durrell. According to the Authorised Biography, he started writing My Family and Other Animals in 1955 when he and his wife were living in an apartment at 70A Holden Road, Woodside Park, London. In 1975, my late husband and I started our life together in an apartment at 72A Holden Road. So we were next door neighbours 20 years apart -  an incredibly tenuous connection, but one that put a big smile on my face!

What author has inspired you most?

Jane's picture books all feature animals in some way, shape or form, and she has lots of fun researching each and every one, even though very little of the research gets used in the texts!

Monday, 7 August 2017

Favourite Picture Books of Writers and Illustrators ● Paeony Lewis

“What’s your favourite picture book?” Argh! That’s such a tricky question. Is it a favourite picture book to share with children? Or a favourite picture book you enjoy as an adult? 

Escaping to the country
to immerse ourselves in picture books

Recently, at a long weekend in the depths of the English Cotswolds, a collection of children’s picture book writers and illustrators shared their answers to this questionable question (and they couldn't pick their own books!). It’s a wonderful way to discover new picture books and see familiar ones with fresh eyes. So I thought I’d share their choices, even if I‘m staggered at some of the books chosen (ha ha, I won’t say which!).  

The discussions were originally recorded in my scruffy writing in my scruffy notebook. Apologies if I’ve misunderstood anyone and just contact me if you want anything changed. In general, I only included those who are published because although I mentioned I'd be writing a blog post, I didn't ask individuals and those who are published are more familiar with seeing all manner of stuff about themselves on the internet (even nonsense!).

Also look out for extra VIDEO LINKS. Later that weekend the talented Candy Gourlay grabbed some of us to talk about our choices on camera (we were totally unprepared – well I was!).

THE THREE PIGS by David Wiesner (Clarion Books 2001)
Chosen by guest speaker and author/illustrator, Adam Stower  + Video

The words and pictures come together to create something greater than the individual parts. It starts off lulling you into a sense of traditional security. Then the pig literally blows the pig right out of the visual frame of the story. There are speech bubbles followed by a wonderful word-free journey with a surprise at every turn.

GRUMPY FROG by Ed Vere (Puffin 2017 )
Chosen by author/illustrator Mike Brownlow  + Video

A new book which has been stylistically pared back. The lines are out of the ordinary and all unnecessary detail has been removed and the colours are particularly strong. The book removes or plays with the authorial voice and there’s a dialogue with the reader. 

Mike also sneaked in WE FOUND A HAT by Jon Klassen (Walker Books 2016) because the dialogue between the two characters appealed, and the ethical dilemma is told in a refreshing way.

THERE'S A PIG UP MY NOSE by John Dougherty & Laura Hughes (Egmont 2017)
Chosen by author Julie Fulton 

It's great fun though probably a bit of a 'Marmite' book (non-British readers: this means you'll either love it or hate it!). The trotter prints in the illustrations and the very matter-of-fact way the characters accept the doctor's diagnosis of a pig up the girl's nose add to the enjoyment. The oink repetition is fun to repeat by a child.

WATERLOO & TRAFALGAR by Olivier Tallec (Enchanted Lion Books 2012)
Chosen by guest speaker and publishing art director
Zoë TuckerVideo

Beautiful and unusual book that is wordless and relies on observational body language. Great characterisation. Adores the cover from a graphic designer's point of view.

CRY, HEART, BUT NEVER BREAK by Glenn Ringtved & Charlotte Pardi (Enchanted Lion Books 2016, originally published in Danish in 2001)

A popular choice and picked by two people, writer Alison and illustrator Rachel Tilda Wolf  + Video

A story within a story. It was the stunning illustrations that first attracted Rachel, and then she fell in love with Death - he has so much respect for everyone. It's such a strong moment when Death puts his hand over the coffee cup and says now is the time.

It was an emotional book for Alison too and she particularly empathised with the intertwining of sorrow and delight; who would enjoy the sun if it never rained?

ONE OF EACH by Mary Ann Hoberman & Marjorie Priceman (Little, Brown and Company, USA 2000)
Chosen by author/illustrator Bridget Marzo  +  Video (about another favourite: Caleb and Kate by William Steig, 1977)

The saturated colour is reminiscent of Matisse. The illustrations work well with the writing and there's a strong rhythm. Bridget enjoyed sharing it with her children who found it hilarious.

PARK IN THE DARK by Martin Waddell & Barbara Firth (new edition Walker Books 2002)
Chosen by illustrator John Shelley

An old favourite. John adores the illustrations but it's the poetic rhythm (not rhyming) of the words that pulls him into the night-time world of the toys. You simply can't stop reading it from beginning to end. A simple story told in a beautiful, poetic way.

HENRI'S WALK TO PARIS by Leonore Klein and illustrated by Saul Bass (originally published in 1962, this edition Universe Publishing, USA,  2012)
Chosen by illustrator Alyana Cazalet  + Video

One of many favourites, Alyana loves the work of American, Saul Bass. The illustrations are simple, patterned, and use space, colour and typography in an interesting way. Although the book is about Henri, we never see him, which works well. Plus Bass doesn't use cliched tourist images of Paris. For a book first published in 1962, it looks very contemporary.

 WHEN FRANK WAS FOUR by Alison Lester (pb Allen & Unwin, 1997)
Chosen by author Cath Howe  + Video


This is a book about real children, to be shared with children. It creates lots of discussion and is not a narrative and breaks expectations of what works in a picture book. Cath likes the way all the children do one thing, whilst one child does something else, and Cath's children love it.

BAHAY KUBO illus by Hermes Alegre (Tahanan Books, 1993)
Chosen by author Candy Gourlay 

Not in English but we all understood what was happening. This is a traditional folk song that everyone knows in the Philippines. Candy adores the colours and illustrations and picked it because she's especially interested in books that show other countries and cultures that aren't familiar to European children.

Similarly, writer, Cathy, picked THE MOUSEHOLE CAT By Antonia Barber & Nicola Bayley (Walker Books, 1990) partly because it reflects her Cornish identity and life, her language and places. Also, she feels there's a place for longer picture book stories.

THE RED BOOK by Barbara Lehman (Houghton Mifflin, USA, 2004)
Chosen by author Juliet Clare Bell  + Video

A wordless picturebook, although for Clare the attraction is not in the illustrations. Instead it is about the 'whole thing' and the way the book makes her feel . The wordless story is about two lonely children who meet in an extraordinary way. It's a different form of storytelling.

Another book was chosen for the overall way it made the reader feel.  This time  it was an unusual (weird?!) book, THE BEAR WHO WANTED TO STAY A BEAR by Jörg Steiner & Jörg Muller (Swiss), originally published in English in 1977. Chosen by illustrator, Paul Morton, and you can find out more in this general video link.  Once again, for him it's not the pictures, or even the writing. Instead it's the feeling you get from the book. Despair with a little hope at the end.

After that book, if you want to cheer yourself up then listen to Gary Fabbi talk about Stickman in the video below.

STICKMAN by Julia Donaldson & Axel Scheffler (Alison Green Books 2008)
Chosen by writer, illustrator and filmaker, Gary Fabbi  +  Video

Gary loves reading this 'awesome' story to his children and says there are no other books like Stickman. It's a story about homecoming.

Time to squeeze in my book choices.

Like others, I brought along several books. There was Owl Babies by Martin Waddell and Patrick Benson - a reassuring tale about separation anxiety and a favourite to read to my young children. Plus This Is Not My Hat by Jon Klassen - I adore the illustration and simplicity of the expressive fish eyes, the deadpan language that says so much, and the childlike morals of the little fish who tries to justify the theft of the hat. However, we had to pick one book and my choice was...

VARMINTS by Helen Ward and Marc Craste (Templar Publishing, 2007, 2013)
Chosen by Paeony Lewis  + Video

I have two copies: an everyday secondhand copy and a signed hardback in a slipcase. Despite this I hadn't read Varmints in quite a while so if you listen to the video you'll be confused by my chaotic rambling (I panicked and didn't know what to say - which is daft as I can cope with radio interviews!).

Varmints is a slightly abstract tale about being subsumed by urbanisation and cutting ourselves off from nature. But all is not lost and it only takes one person to nurture a seed of hope that spreads change and the return of bees. The illustrations are unusual and atmospheric. Sometimes the text is hard to read, which is deliberate as the noise of industrialisation drowns out sound. Perhaps it's because my degree is in environmental sciences that this is a favourite?

Sadly there's not enough room for all the 'favourites', but here are a few more that other lovely writers and illustrators shared over the weekend.

The variety of 'favourites' is staggering. Many were new to me and I found some choices surprising. I think it shows that our personalities and experiences influence our preferences far more than sales hype or academic evaluations of what is 'good'. Plus there's often a difference between our personal favourites (as adults) and the ones we enjoyed sharing with children. For many, 'favourites' are fluid, so often new favourites replace old favourites. I'd love to hear your favourites.

Paeony Lewis

PS The long weekend was organised by the SCBWI (Society of Children's Writers and Illustrators), a proactive group that encourages both published and aspiring writers and illustrators. Click picture book weekend for an excellent write-up of the event by Candy Gourlay.