What A Wonderful Song

Tim Hopgood, author and illustrator shares his love of Louis Armstrong’s world-famous song What a Wonderful World and takes us behind the scenes of making it into a picture book and getting it published.

One Father’s Day about five, six years ago my daughter gave me an old vinyl copy of Louis Armstrong’s rendition of What A Wonderful World. Before we go any further, I feel I should point out that the song was not actually written by Armstrong, but such is the magic of his recording that people seem to assume the song is his! The words were actually written by Bob Thiele and George David Weiss.

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I first heard the song when I was about six years old; it was played at school during assembly. It made a huge impression on me as a child, such a seemingly simple song, yet so powerful in that it goes straight to the heart with its message of hope and love. Listening to the recording once again, complete with vinyl crackles, I realized the song hadn’t lost any of its charm and it hadn’t dated, that’s the beauty of something so honest and simple. And there’s something about Armstrong’s gravelly voice that stops it being too sentimental, maybe that’s the reason his recording is the one everyone remembers.

So what’s the first song you’d want your new baby to hear? For me it has to be this song. It was for Chris Evans too. I remember he opened his afternoon show on Radio 2 with the song after his first son Noah was born. Wouldn’t it be amazing to capture the joy of that song, probably the most life-affirming song of all time and put it in a book?

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Think about it, the lyrics are so visual ‘I see trees of green, Red roses too’ it could work. And as a gift, what better gift book could there be than to give someone what is essentially a love letter to the world? A simple message of hope.

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When I first showed the roughs for the idea the initial reaction was that it was going to be too complicated to get permission to use the lyrics. I think I’m right in saying that there are three music companies which own the rights to the song, and they would all have to agree on the concept and the publishing terms. My editor at the time loved the idea, but from a publishing business point of view it wasn’t looking quite so wonderful. As a relative newcomer to the picture book market, having at the time only published two books, the chances of making the figures work looked unlikely. “One to put on the back burner” was the advice from my agent.

 

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So that’s exactly what I did.  And then a few years later, I got a call from the commissioning editor at OUP, Peter Marley. Pete explained he was looking for gift book ideas and wondered if I’d be interested in working with him. I wasn’t exactly sure what the difference was between a picture book and a gift book, so he explained how gift books tended to have higher print production values than an ordinary picture book and that often they were based on classic titles that are given a new lease of life by a contemporary illustrator.

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I think it was the word CLASSIC that jumped out at me. Something made me think immediately about my ‘Wonderful World’ idea and so I mentioned to Pete that I did have something he might be interested in, not based on a classic title, but a classic song instead.

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When I look at the original roughs now it’s surprising how little has actually changed, surprising in a good way. Others may look at the roughs and see just a few scribbly lines, but to me the content and composition is all there, the journey and the pace of it all is pretty close to the finished book. My roughs are VERY rough, but the essence of what’s happening on the page is there.

I’m not someone who likes to produce very detailed roughs and then colour them in as it were.  For me the process is all much more spontaneous than that with each finished spread influencing the next. And so much of my work is about colour that often it’s hard for people to imagine the power and impact a spread will have until colour is applied.

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So for example, my rough drawing for the horses spread, which is probably my favourite spread, doesn’t look that impressive, but in my head I knew it would work. The power of colour never ceases to amaze and excite me. So like the song itself, the composition is kept simple and direct.

p22_unpublishedI guess the main change to come out of the editorial process was the relationship between the boy and the bird. It’s much stronger in the final version, much more deliberate whereas in the original rough it is more incidental.

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I hope the book will introduce a whole new generation to the wonders of this song and that it will encourage parents and teachers to share its joy by singing to their little and not-so little ones. The project was a labour of love. A project that came about because all those involved at OUP wanted to make it happen as much as I did. It certainly wouldn’t have happened without them. I’m a great believer in things happening for a reason. Had the book happened earlier in my publishing career it wouldn’t be the book it is­­; by that I mean, it wouldn’t be quite so charming, quite so powerful, quite so wonderful. Thank you to everyone involved.­­­­ ­­­­­

 What a Wonderful World is out now.

What a Wonderful World

Tim

Tim worked for twenty years as a graphic designer and freelance illustrator before he began his career writing and drawing for children. He has a deep love of music, often he wears large headphones and blasts Miles Davis or Stevie Wonder while he paints and draws. He works mostly with Derwent sketching pencils, using digital layering methods to create his artworks. He now lives in North Yorkshire with his wife, two children and his cats.

Cakes in Space!

Greetings, space cadets! Philip Reeve reporting from the Reeve and McIntyre international space station (we built it out of some of Sarahʼs spare hats).

Yes, for our new book, Sarah and I decided to launch ourselves into outer space. Weʼve even had some space costumes made so we can be properly dressed when we do book events.
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People often ask, ʻWhere do you get your ideas from?ʼ, but by the time youʼve gone all through the process of writing (and illustrating) a book it can sometimes be hard to remember where you started. I think the first idea for Cakes in Space came when I noticed that Sarah is really good at drawing aliens, and that got me thinking that we should do a space story. And then I thought it might be fun to start with an idea that felt quite cold and futuristic – a girl sets off on a long space voyage in a gleaming white starship. She and her family are off to live on a new planet, called Nova Mundi…

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So I told that idea to Sarah – we always come up with our stories together – and we started discussing what might happen next. We decided that Astra and the other passengers would all be put into a frozen sleep while the ship makes its long journey. But something goes wrong, and Astra wakes up in the middle of the voyage, while everyone else is still asleep. That was the idea which the rest of the story grew around. (Not many of us have been aboard a starship, but we all know that slightly magical, slightly scary feeling of being the only one awake in the house.)

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What would Astra discover as she crept around the silent, sleeping ship? We didnʼt want her to be too lonely, so we invented a friendly robot called Pilbeam…

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And Sarah didnʼt want to be drawing just white corridors all the time, so we gave the ship an overgrown zero-gravity fruit garden…

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But there are problems, too. Thereʼs a bunch of aliens called the Poglites, whom Sarah has drawn wearing chimney-pot spacesuits. Theyʼve come to steal all the spoons…

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And, more worryingly still, the shipʼs food making machine, Nom-O-Tron 9000, has gone bananas and started baking batch after batch of KILLER CAKES. That was Sarahʼs idea, and once she suggested it, those cakes sort of took over the book.

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Will Astra be able to defeat the fearsome flapjacks, murderous muffins and beastly battenburgs? Youʼll have to read Cakes in Space to find out. But never fear – she has a SPORK, and sheʼs not afraid to use it!

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Cakes in Space is out now.

Cakes

And you can get Oliver and the Seawigs too!

Oliver and the Seawigs PB

cakesinspace-smallformatPhilip Reeve was born and raised in Brighton, where he wrote his first story at the tender age of five about a spaceman called Spike and his dog Spook. He is a talented illustrator and writer, and he has illustrated several titles in the Horrible Histories series.  Philip is best known for his multi award-winning Mortal Engines quartet, which won the Nestlé Children’s Book Prize, the Blue Peter Book Award, and the Guardian Children’s Book Award. Philip has also won the prestigious CILIP Carnegie Medal with Here Lies Arthur. Philip lives in Dartmoor with his wife Sarah and his son Sam.

Sarah McIntyre is a writer and illustrator of children’s books and comics. She once applied for a job as ship’s rigger, intending to run away to sea, but instead, she found herself studying Illustration at Camberwell College of Arts and graduated in 2007.

Sarah grew up in Seattle in the US and went to university in Philadelphia, where she studied Russian language and literature. She thought she wanted to be a journalist, and worked for a year at a newspaper in Moscow. One of her articles caused a huge scandal, and she ran off with a British diplomat named Stuart, who married her and took her back to London with him. She thinks he probably wasn’t a spy, but she is not entirely sure. She shares a studio with three friends in an old police station in Deptford, south London, (complete with cells!). You can visit Sarah’s website and blog at http://www.jabberworks.co.uk

 

Countdown to publishing day!

Space travel! Toilet roll tubes! Moon-walking! Author/illustrator Richard Byrne counts down the journey to publication of his latest new picture book The Great Moon Confusion.

Way back in the late 1960’s and early 70’s, during the time of the great space race, just about every child I knew wanted to be an astronaut – and I was no exception. I spent many happy hours building Saturn V rockets out of toilet roll tubes, practising my moon-walking in the local park’s sandpit and performing Houston-we-are-go-for-launch style countdowns before I did just about anything.

Unlike my childhood heroes Armstrong, Aldrin and Collins, I never did become an astronaut, but still look up at the moon and stars with the same childlike wonder. So it’s not very surprising that I eventually created a picture book about the moon, rockets and suspicious-looking bears. Okay, the bear thing must have come from somewhere else.

So, how did The Great Moon Confusion get off the ground? Here’s my chance to sneak in another countdown…

10…

Did a doodle in my sketchbook…

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9…

…combined it with another doodle in my sketchbook…

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8…

… to spark off an idea for a new picture book – Who is stealing the Moon? Could it be those bandit bears? Or is it just a misunderstanding?

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7…

Refined the idea into a set of miniature storyboard-like sketches called thumbnails.

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oup_moon_blog_36…

Produced some studies to establish a style for each of the characters in the story.

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5…

Drew a full-size set of black and white roughs for every page of the book.

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Created the finished illustrations with a combination of hand-drawn and computer techniques.

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3…

Sent the illustrations to Oxford University Press for final production of the book.

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2…

Had a well-deserved cup of tea… and an idea for the next book.

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1…

LIFTOFF!

The Great Moon Confusion is published!

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The Great Moon Confusion is out now.

Great Moon Confusion PB

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Born in a hospital. Brought up in Brighton. Learned to colour-in in Eastbourne. Worked in graphic design. Worked in Brighton, London, Manchester and Yorkshire Hills. Worked for myself.

Met Philippa somewhere along the way. Had two children. Had the mid-life crisis. Bought my first guitar. Got the urge to create a children’s book. Got an agent. Got a book deal. Got another book deal.

Richard now lives in Chichester so that he can be closer to family, old friends, the coast, and the equator.

Spawning a Little Frog

Tatyana Feeney is author and illustrator of a brilliant series of books that tackle everyday toddler troubles. From losing a favourite blanket (Small Bunny’s Blue Blanket) to likes and dislikes (Little Owl’s Orange Scarf), her simple story and minimalist artwork speaks volumes. Where did the idea for her new book Little Frog’s Tadpole Trouble which deals with a new baby in the family come from?

9780192735546_LITTLE_FROGS_TADPOLE_TROUBLE_CVR_APR14I have quite a young family still – my oldest is seven, so inspiration for stories about young children is fairly abundant in my daily  life!

Little Frog’s Tadpole Trouble, which is my latest book, developed from having my own children and seeing the effect of a new sibling on the first child. I am sure there are some children who are delighted with new children arriving in the family, but many feel threatened or upset by the change in the family dynamic. My intention, by having nine new brothers and sisters was just an exaggeration of how the change feels to the first child. Of course, most families don’t go from one to ten overnight – but it could feel that way when a new baby arrives…

A regret I have is that I didn’t make Mommy and Daddy look a bit more stressed once the tadpoles arrived – they are quite relaxed for parents of 10!

Some things Little Frog likes to do

Some things Little Frog likes to do

When I start working on a new story, drawing the characters (a lot!), is the best way for me to get to know them. I think  about what they might do, or  wear, what they like, what they DO NOT like. I need to know lots of things about their personality to help get the story started. I have a few samples of drawings I did when I was working on Little Frog’s Tadpole Trouble. Some of the pictures are just Little Frog doing things he likes, including listening to music and trying gymnastics. Not all of these ultimately went into the book, but they still give me an idea of who he is.

Little Frog was very upset about the new tadpoles and he ran away...

Little Frog was very upset about the new tadpoles and he ran away…

I have included a few other sketches. One is Little Frog running away from home…

 

...luckily he didn't get too far...

…luckily he didn’t get too far…

(well, to under the kitchen table) when he heard about the new siblings.

Some things Little Frog likes to do with the tadpoles - teaching them to skip

Some things Little Frog likes to do with the tadpoles – teaching them to skip

There are also some ideas of things he could do with the tadpoles once they got a bit bigger.

Playing leapfrog!

Playing leapfrog!

It is always  nice to play around with the characters like this, even when not all of the ideas make it into the finished book – it seems to give them more personality somehow.

 

Little Frog’s Tadpole Trouble is out now.

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feeney0062kpo2011_bwTatyana Feeney grew up in Chapel Hill, North Carolina. She studied History of Art at the University of North Carolina and Design at the Art Institute of Atlanta before getting a BA in Illustration for Children’s Publishing from NEWI in Wales.

She has illustrated several books with Irish publishers, including 3 in the Irish language. She has also done illustrations for websites and cards.

She lives in Trim, County Meath with her husband, two children and small dog.

 

 

About Mums by Mina May (age 13)

To celebrate Mother’s Day, an ode to mums by Mina May, illustrator extraordinaire of the Wendy Quill series Wendy Quill is a Crocodile’s Bottom, Wendy Quill Tries to Grow a Pet and Wendy Quill is Full Up of Wrong (out July 2014), which she creates with her own mum, author Wendy Meddour.

This is me when I was ten: the year I became an illustrator with Oxford University Press.

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I’ve wanted to be an illustrator for as long as I can remember, and when it finally happened, it just felt right. I’m thirteen now, and have just finished illustrating my third book, but it took years of submitting my pictures to publishers and entering competitions before I got my first contract. (I started doing all that when I was eight). People are very lucky when they achieve something they’ve always aspired to do and I’m very grateful for that! But I definitely didn’t get there on my own. My mum was the first person who believed in me: she inspired me to draw and encouraged me to try and achieve my dreams (and do most of the other things I enjoy so much now). She even helped me type and colour in the first proper books I made at home when I was only four years old.

Here’s a page from one called:  ‘Mina’s World’.

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It’s a bit different to what we make together now!

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She knows how important drawing is to me. She understands how happy it makes me feel. She knows that it’s something I just really need to do. Mum says that ALL children have a talent and it’s important they find an outlet. Football. Singing. Telling jokes. Whatever. I feel so lucky that Wendy Quill is mine.

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Often, I write little messages to Mum when I’m drawing, like on this picture of Wendy Quill’s family at breakfast.

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She writes back.

image018And we have great fun doing events together – like at this book launch party of Wendy Quill tries to Grow a Pet. (Mum always makes sure there are lots fab cakes for me and my brothers too).

image019So, what’s so special about my mum? Well, she’s funny, talented and I know this might sound soppy, but she’s always been my ‘guide through life’. And when tricky things happen, we just get closer. And stronger.

She’s great company and always makes me feel happy! I think that mums are the best. Simply that. A lot of people may not get on with their mums because they are ‘this and that’ and they don’t let you do ‘etc.’ But I figured not too long ago that they are just there to protect you, make you smile and to share your best moments with. They aren’t there forever and they literally work their socks off for you, so we really need to look after them too.

Now I’m not meaning to have a bit of a crazy lecture about ‘be nice to your mum before it’s too late’ because that’s not what Mother’s Day is about.

Mother’s Day is a day when we remember how fab our own mothers are and how we should appreciate the things they do for us every single day: like washing up, making dinner, giving you the hug that you didn’t realise you needed so bad until you came home and got it. Or maybe just making you laugh.

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To be honest, I believe that Mother’s Day should be every day but I suppose the card factories would get a bit fed up and it would stop being so exciting. It would be like having your birthday every day and get boring, wouldn’t it? Actually that’s not such a good example… (I really don’t know how my Mum does it! All of those hilarious and well-written books and blogs that never seem to waft off into my endless babble!)

Anyway, back to the ‘intended’ point. What I was trying to say was that Mother’s Day wouldn’t be special if we had it every day – so let’s make the most of it!

Buy your Mum a big bunch of flowers and tell her how great she is!

Write her a letter or phone her up and tell her how fabulous she’s been.

Make her breakfast in bed.

Help her mow the lawn.

Or maybe just write a blog.

Like I’m doing now.

About how great she is.

Or something similar.

Only try not to waffle as much.

So … Happy Mother’s Day, Mums!

WE LOVE YOU!

And Mum – thanks for being such a great best-friend xxx

image023Mina May: I’m thirteen years old. I live with my three brothers. I have green eyes and crazy curls. I’m half Algerian. I love trying new things. I don’t like peas. But I do like drawing.

Wendy Meddour: I’m thirty-eight years old. I live with Mina May’s three brothers. I have green eyes and crazy curls (that I straighten when I’m trying to look smart). I’m not half Algerian. I love doing old things that I already know I’m good at. I quite like petit pois. And I do like drawing (but I’m not as good as my thirteen-year-old daughter).

Being Boris

Tim Warnes on the joy of illustrating the Boris books and his inspiration behind some of the characters.

© Tim Warnes 2013

© Tim Warnes 2013

I love working on the Boris books! They’re such great, warm-hearted stories, that working on Boris Gets Spots was like going back to an old pair of cosy slippers – comfy and relaxing! And I have to say I think Boris is rather an inspirational character. He’s gentle, kind and helpful. He gets his chance to really shine in Boris Saves the Show, when he’s the one who is fast enough and strong enough to rescue the preschool class, who have got stuck in the mud on their way to the summer performance.

_MG_0785One of the things that’s refreshing about the Boris books for me as an illustrator is having to create an authentic classroom setting, where much of the stories take place. At first this was quite daunting since I struggle with seeing, let alone drawing, perspective. (Is there such a condition where your brain can’t discern whether a line in a room is going up or down? If there is, I think I have it.) As a result much of the scenes are quite flat, almost like stage sets, with the characters coming on from the wings. Anyway, I took masses of photos of my sons’ primary school for the first book, and I’ve used these consistently for reference ever since to create a genuinely chaotic classroom feel, with lots of details. My best find had to be the drawings stuck onto the tadpole tank at school of a shark and puffer fish – you can spot them on the goldfish tank in Miss Cluck’s classroom in Boris Gets Spots.

© Tim Warnes 2013

© Tim Warnes 2013

In Boris Gets Spots we are introduced to Farmer Gander (who I modeled on a Chinese goose). He’s visiting Miss Cluck’s class with some of his produce – like a miniature mobile farmer’s market, obligingly pulled by Buttercup the cow! Does it seem odd to you that the cow retains her natural bovine qualities, whilst everyone else gets to wear clothes? Actually, now I think about it, all Miss Cluck usually wears is a pair of spectacles, although in this story she sensibly dons an apron and oven gloves when she bakes some treats for her poorly class, who have come down, one by one, with chicken pox! (I told my editor, Helen, that my youngest son called it ‘chitten pops’ when he caught it. She must have told Carrie because this phrase ended up in the final text!)

It's tricky painting mice this tiny, and children at readings always comment on how SMALL they are. The smallest brush I use is a 2/0 which is really, really thin.

It’s tricky painting mice this tiny, and children at readings always comment on how SMALL they are. The smallest brush I use is a 2/0 which is really, really thin.

 

Tim Warnes photoAward-winning illustrator Tim Warnes shares a studio at his home in the Dorset countryside with his wife, illustrator Jane Chapman. They have two young sons. Tim spends a lot of time helping at the village school and his careful observations can be seen in all the authentic details of an infant classroom and also in the way he has successfully captured the solicitous, motherly demeanour of Miss Cluck and the mannerisms of the little pupils in her care. Tim is best known for illustrating the Little Tiger and Santa books for Little Tiger Press. I Don’t Want to go to Bed! won the Nottinghamshire Children’s Book Award in 1996 and I Don’t want to have a Bath! won in 1997.

Find out more about Tim and his work at www.chapmanandwarnes.com

See more behind-the-scenes Boris stuff in the Boris photo album!

Boris Gets Spots is out now.

Boris Gets Spots

Too Small For My Big Bed – behind the scenes with Layn Marlow

Layn Marlow

I love the comparison that’s often made between picture books and theatre.  I’ve always felt shy about being on stage, but in illustrating picture books, I discovered I could be director, stage designer and a whole cast of actors, all from behind the scenes.  For my latest book, this analogy even helped me discover a new way of working.

A change of scenery

I’d already collaborated on six picture books with Amber Stewart as author.

Books by Amber Stewart and Layn Marlow

Books by Amber Stewart and Layn Marlow

                  

Each one saw a cast of small woodland animals, sensitively tackling subjects significant to young children: a duckling starting school, a rabbit losing her security blanket, a little mole learning to try new foods.

In each case, I approached the illustrations in the same way; using a dip pen, then fine brushes, to apply thin layers of acrylic paint onto smooth board.

Layn Marlow artwork

© Layn Marlow

I gave the rural scenes some botanical detail, which I hoped would draw the reader into the animal’s world.  It was all very green and pastoral – like the best bits of my early childhood.  But our seventh book left that familiar landscape behind…

New actors

Too Small For My Big Bed portrays a mother tiger’s tender relationship with her growing cub, Piper, as he struggles to overcome his nightly fear of being alone.

Too Small For My Big Bed UK hardback

Suddenly, I had an even smaller cast to work with, (two!), although of course, the actors were much bigger.

When developing any animal character, I usually start by sketching real animals. Then I try to modify and infuse their bodies with the more human expressions of the character in the story. (This often involves some acting in front of the mirror!)

© Layn Marlow

© Layn Marlow

Tigers are not easy to observe in real life, even in captivity, so I’m greatly indebted to the marvellous John Downer film, Tiger – Spy in the Jungle.

Tiger: Spy in the Jungle DVD cover

Tiger Spy in the Jungle. Director, John Downer. Narrator, David Attenborough. BBC, 2008. DVD

The narrator, David Attenborough, has described it as “the most intimate portrait of tigers ever seen”, which made it the perfect way for me to research mother and cub behaviour.

Setting the stage

The film also enabled me to see what the ‘jungle’ looks like. It was made in India’s Pench National Park, home to Rudyard Kipling’s Jungle Book.  Having never travelled to India myself, I was surprised to see only limited greenery. In fact much of the Pench landscape looked just as Amber Stewart’s text describes – Golden Grasslands and Red Rock Ridges – colours more evocative of a tiger’s fiery coat.  I realized these warm hues would contrast well with the deep ultramarine blue of a night sky, and so my new palette was chosen.

 Too Small For My Big Bed palette

In the spotlight

In Too Small for my Big Bed, the close relationship between mother and cub takes centre stage.  This is what gives Piper the feeling of security he ultimately needs to find independence. I tried to echo this intimacy in the gestures of the tigers, but I also wanted to strengthen their presence in the compositions.  So, rather like applying stage make-up, I intensified the outlines of my pencil drawings by printing them with black ink onto watercolour paper.

© Layn Marlow

© Layn Marlow

Previously I’d dismissed watercolour as a pale and unforgiving medium. Now I found deep, rich inks to use, and learned to be slightly less respectful of the high quality paper.  I worked over the ink areas with coloured pencil, acrylic paint and even collage.

With the spotlight on the tigers, I really began to treat the landscape more like a stage set. I enjoyed creating rubbings of various textures and seeking out other collage materials from which to build the ‘scenery’.

Too Small For My Big Bed collage materials copy

Even though I’d long been aware of the theatrical analogy, somehow this time it felt to me like a real liberation.

A star performance

My favourite phrase in Amber Stewart’s text comes when we first see Piper fall asleep in his mum’s bed, ‘spread out like a small star’.

© Layn Marlow

© Layn Marlow

I’ve already found that children love to identify with Piper as a character. They feel rightly proud of how they’ve grown and of all they’ve learned to do.  I’ve thoroughly enjoyed the process of bringing Amber Stewart’s little tiger to life, and in doing so; I think I may have grown a bit myself!

Children wearing tiger masks

Layn Marlow

Photo © Tom Greenwood

Born in Essex, Layn Marlow studied Art History at Reading University. She then worked in libraries, and lived in Belgium for some years with her young family, before returning to university to gain a first class degree in Illustration. She has been writing and illustrating picture books ever since.  Her books have won a number of awards, sold over a million copies worldwide and been translated into more than 20 languages. Layn is particularly inspired by the natural world, and now lives in Hampshire, where daily walks with her dog, Rufus, are essential.

Visit Layn’s website and Facebook page.

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Too Small for my Big Bed is out now in hardback. The paperback edition is out in August.

Meet the mother and daughter team behind Wendy Quill is a Crocodile’s Bottom: Wendy Meddour and Mina May

Hi! And thank you for asking us to join you on this blog. So here we are: the mother/daughter team behind the Wendy Quill books – working EXTREMELY hard. Mina May is slaving away on her iPad whilst I am doing VERY IMPORTANT writerly work:

Wendy Meddour and Mina May

Wendy Meddour and Mina May working EXTREMELY hard

You see, because Mina May is only eleven, people are always asking us: ‘What was it like doing a book together? Was it really hard?’ I’m tempted to say: ‘Oh yes, of course. What with all the deadlines and having to produce pictures for a professional designer’:

Mina and Karen Stewart

Mina May with our very professional designer

And having to submit manuscripts to an editor who is ever-so strict . . .

Mina and Jasmine Richards

Illustrator and Wendy Quill editor hard at work. Again.

 But then I realise that I have to stop pretending.

Because the truth is, we’re having an absolute blast. Our designer and editor at OUP are AMAZING. And Mina May and I LOVE creating Wendy Quill together – she’s a little bit of both of us, I think. We’ve got the same sense of humour – so are giggling all over the place and having a bit of a ball.

This is how it works:

Mina May: ‘Were you really a crocodile’s bottom, Mum? You know, in actual real life?’

Me: ‘Erm. Well. Sort of, yes. It was for my school play: Peter Pan and Wendy. My head wasn’t big enough to fit under the front bit, so I had to go at the back.’

Mina May: ‘Oh no!’ *giggling* ‘But why weren’t you picked to be “Wendy”?’

Me: ‘I have absolutely no idea. I mean, I should have been Wendy. I am a real Wendy. I even look like a Wendy. And the girl they picked had straight black hair, which everyone knows is completely wrong for Wendy in Peter Pan and . . . ’

Mina May: ‘Aw, never mind Mum. I bet you were a great crocodile’s bottom.’ *Starts drawing on iPad* ‘How about this?’

Wendy Quill as crocodile

Artwork from Wendy Quill is a Crocodile’s Bottom © Mina May

Me: ‘Oh my giddy Aunt! That’s unbelievable!!!! That is just what it was like!’

Or, to take another example . . .

Mina May: ‘So what do “The Girly Gang” actually look like Mum? Have you written that chapter yet?’

Me: ‘No. Not quite yet. But basically, they all have their ears pierced and wear pointy shoes. It’s part of their “Girly Gang” Rules. Oh. And they’re really scared of rats.’

Mina May: ‘So kind of like this?’

Wendy Quill girly girls

Artwork from Wendy Quill is a Crocodile’s Bottom © Mina May

Me: *squeal* ‘Ahhhh! Exactly like that! You’ve done it again! Perfect.’

Then we send it to our designer, the brilliant Professor Karen Stewart – and she puts the images all cleverly on the page. And then my editor, the lovely Jasmine Richards (with the gymnastic abilities, editorial brilliance and completely ‘natural arch’), reads my Wendy Quill chapters and tells me if I’m ‘cooking on gas.’

If I am ‘cooking on gas’ (and being Wendy Quillish to the core), we all get very excited and eat lots of cake! And then we get even more excited when we see the final product, tadaaaa:

9780192794635_WENDY_QUILL_CROCODILES_BOTTOM_CVR_MAY13

And then we say, ‘Can we do another one? Please?’

So no. It’s not hard. It’s a DREAM. And we don’t really want it to stop.

Here’s a little ‘Behind the Scenes’ video so that you can see us in action. We hope you giggle over Wendy Quill is a Crocodile’s Bottom just as much as we giggled over making it.

Wendy Quill is a Crocodile’s Bottom is out now. Also available as an eBook – in full colour!

Picture This: Karen George on becoming a published illustrator

karen_george_2013Karen George shares her journey to becoming a published illustrator, with a little help from Waterstones and Julia Donaldson…

In 2009, I won the Waterstones/Macmillan ‘Picture This’ competition, beating 900 hopeful unpublished illustrators to the top prize of illustrating Freddie and the Fairy for Julia Donaldson.

freddie and fairy 3The timing of the competition was perfect for me, my youngest son was about to start nursery and I was at the point of making decisions about work. After leaving the Royal College of Art, where I studied fine art, I eventually settled as a film set painter and muralist. It was during my time as a standby painter on films, which involved a lot of waiting around (of course ready to pounce like coiled spring when called for!) that I started drawing and jotting down ideas for stories to pass the time. I then entered into a long and continuing period of research into children’s picture books following the birth of my first son, who demanded three stories a night, every night. I spent these years scribbling, writing, cutting out and sticking; creating characters of my own that I hoped would catch a publisher’s eye. Some were extremely interested but not quite ready to take the final plunge, there had been many words of encouragement  but alas no contracts.

Billed as a ‘life changing’ prize, ‘Picture This’ came at a pivotal point, but it was a competition that I nearly didn’t enter…

The early hurdles

The first hurdle was that I first heard of the competition horribly close to the deadline. I wasn’t sure that it could be done in time, but dither over, I set to work.

Illustrating for Julia Donaldson and the other notable judges proved disastrously daunting, the weight of their pedigree made me produce some of the worst work I’ve ever done!

A day of despair followed, at my inability to manoeuvre a pencil, and a lost opportunity to enter the world I had so long wanted to be a part of… but I had invested too much over the years to completely waste such an opportunity, so I decided to use the Julia Donaldson text and an impending deadline to at least update my portfolio. I pushed all thoughts of Julia and the judges aside (sorry!) and set to work again. With VERY little time left I sketched, painted, cut and glued my way through several near sleepless nights. Exhausted, with only hours to spare, I finally delivered my finished artwork to Waterstones Kew Headquarters; excited by the three new character sketches, three animal sketches and  colour spread that would refresh my portfolio.

 freddie and fairy 1

The home straight

A week later, I was plunged into the deepest deep end. Amazingly I had been shortlisted down to the final six!

There then followed six weeks of intense drawing; night after night well into the small hours, the twelve required spreads drawn and re-drawn.

It was an extremely steep, but exhilarating, learning curve.

freddie and fairy 2

And the winner is…

Standing alongside the other finalists on ‘judgment day’, the tension was unbearable; as we waited to hear which one of us had been successful.

On arrival we had been told that the jury was still out. A final decision had not been reached and there would be a slight delay before the announcement. We all chatted nervously.

Finally the moment arrived. Giving nothing away, Julia talked about each finalist and what she had liked about their work. It was lovely to hear and know that a great deal of thought had gone into the decision… but it was also excruciating!

At length came the words ‘and the winner is…’

Julia Donaldson’s books have always been a staple at bedtime for my sons. I had empathised with the Old Woman in A Squash and a Squeeze and had, at times, donated my clothes for the needs of my small children, feeling a little like The Smartest Giant in Town, but I had never dreamt that my name would appear alongside Julia Donaldson on the cover of a book. Indeed, it now appears alongside hers on two books!

The desire to scale down the size of my paint brush from a film set painter to become a published children’s illustrator has taken me on a long and sometimes frustrating journey. Winning ‘Picture This’ catapulted me, like a moment of fairytale magic, to illustrating for the Children’s Laureate and on… to become an author too, with my third book, Hugh Shampoo… all about a boy who will NOT wash his hair!

9780199137374_HUGH_SHAMPOO_CVR_APR13

karen_george_2013

Find out more about Karen and her work at  www.karengeorge.net

Hugh Shampoo is out on 4th April.

9780199137374_HUGH_SHAMPOO_CVR_APR13

World Book Day game – the answers

We hope you had a fantastic World Book Day yesterday – and that you enjoyed our little game, where we asked you to match some of our lovely authors and illustrators to their favourite children’s books.

If you haven’t had a go at matching them up yet, read no further and take a look at yesterday’s post to join in. And for those of you that did, here are the answers!

Ian Beck

Ian Beck

tom trueheartthe hidden kingdom

Ian picked A Hundred Million Francs by Paul Berna

a hundred million francs

Ian said:

“I must have first read this in the early 1960s when an Art Student and I loved it and also the line illustrations. I liked the fact that it was set in Paris, not posh Paris but rough working class Paris, and with a very lively cast of rough child characters. It still reads well now. There is a film of the book made by Disney which is also excellent but oddly elusive and was scripted by T E B Clarke the famous writer of the Ealing Comedies.”

Richard Byrne

R_Byrne

aye-ayereally big dinosaur

Richard picked The Cat in the Hat Comes Back by Dr. Seuss

the cat in the hat comes back

Richard said:

“I’ve loved this book ever since I was knee high to Little Cat C. It’s full of mischief, mayhem and silliness and a delight to read aloud. I remember marvelling at the ever decreasing cats under their hats and the ensuing chaos which comes to a suitably mad end. And all drawn with Dr. Seuss’s beautifully bold line and distinctive use of colour. I only wish I had some Voom to tidy up my studio sometimes!”

Ross Collins:

ross collins

switch billy monster's daymare

Ross picked Angry Arthur by Hiawyn Oram & Satoshi Kitamura

angry arthur

Ross said:

“This was Satoshi Kitamura’s first book, which for an illustrator is kind of depressing because it’s just SO GOOD. I never tire of the beautiful escalation of chaos as Arthur gets angrier and angrier and ANGRIER. Satoshi has since gone on to create many beautiful books but his first one was a classic.”

Julia Golding

JuliaGolding2013

secret of the sirens young knights


Julia picked The Song of the Lioness by Tamora Pierce

song of the lioness

Julia said:

“It’s about a girl who pretends to be her brother to train as a knight in a fantasy world of magic and mythical creatures.  I love the adventure and the knife edge tension of whether her true identity will be revealed.”

Julia Green

Julia Green

tilly's moonlight fox sylvie and star

Julia picked Tom’s Midnight Garden by Philippa Pearce

tom's midnight garden

Julia said:

“I loved it as a child: I could imagine it all perfectly. I wanted to hear a clock strike thirteen, to open a door and find a garden that wasn’t there in the daytime, to meet a girl from the past. My favourite scene was when Tom skates down the frozen river with Hatty, and the chapter when you find out WHY Tom can go back in the past. As an author now, I appreciate so much the actual writing of the story, the structure, the layers of emotion and the simple way it talks about that most complex of ideas: time.”

William Hussey

New Image

witchfinder

William picked Breathe by Cliff McNish

breathe

William said:

“There are so many wonderful children’s books, I couldn’t possibly choose just one, so I drew up a long list and jabbed a finger randomly at the page. The result was the phenomenal Breathe – one the finest ghost stories I’ve ever encountered. Both thought-provoking and chilling, it examines the powerful bond between a mother and her child as well as painting one of the most original visions of the afterlife in fiction. As ever with McNish, the writing is powerful and lyrical. This tale, which creeps the flesh, tugs the heart and stirs the spirit, will stay with you long after the night light is extinguished…”

Gill Lewis

Gill Lewis

white dolphinsky hawk

Gill picked The Story of the Little Mole Who Knew it Was None of His Business by Werner Holzwarth, illustrated by Wolf Erlbruch

the story of the little mole

Gill said:

“Because moles are cool and it made me laugh (plus it has a veterinary slant!)”

Layn Marlow

Layn Colour - copyright Tom Greenwood

 puddle's big steptoo small for my big bed

Layn picked The House at Pooh Corner, by A. A. Milne, illustrated by E. H. Shepard

The house at pooh corner

Layn said:

“I have always loved the gentle humour, the English landscape, the endearingly imperfect characters and most of all, the way Shepard’s illustrations seek and reveal these with every sensitive line.”

Sarah McIntyre

sarah_mcintyre_biopic_medres_copyright_Neal_Hoskins

oliver and the seawigs titus

Sarah picked The Twenty-One Balloons by William Pène du Bois

the 21 balloons

Sarah said:

“A teacher runs away from his job to spend a year travelling by hot air balloon, but crash-lands on a volcanic island full of vast diamond mines and quirky inventors. The bizarre society they created fascinates me, and makes me wonder what kind of island world I could dream up!”

Korky Paul

World Book Day

 winnie's dinosaur daythe fish who could wish

Korky picked Struwwel Peter (Shocked-haired Peter) by Dr Heinrich Hoffmann

struwwelpeter

Korky said:

“I love this book for its dark macabre illustrations and layouts, and the hard edged, unsentimental rhyme that deals so memorably with children’s fears and foibles.”

David Roberts

david roberts

wind in the willows

David picked A Hole Is To Dig: A First Book of First Definitions by Ruth Krauss & Maurice Sendak

a hole is to dig

David said:

“This is the first book I ever bought. I was about 8 years old and I bought it from a book club at school. I fell in love with the simplicity and the beautiful line drawings. The expressive drawings go perfectly with the text. Things like ‘mashed potatoes are to give everybody enough’; ‘toes are to dance on’ and my all-time favourite ‘mud is to jump in and slide in and yell doodleedoodleedoo!’”

Ali Sparkes

Ali-Sparkes-001

shapeshifter frozen in time

Ali picked My Side of the Mountain by Jean Craighead George

my side of the mountain

Ali said:

“It’s just fab! About a boy call Sam Gribley who runs away from his family (thinking they are too poor to feed him) and learns to survive alone in the mountains, aided by a trained peregrine falcon called Frightful, who hunts for him. Full of notes and drawings on survival in the wild, I read it aged eight or nine and then again in my 30s and it was still just as good.”

So how did you do? We’d love to hear how you got on…

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