Category Archives: Illustrator Q&A

Jan Dolby – Illustrator Q&A

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Jan Dolby

Jan Dolby

Jan Dolby is an internationally published illustrator with experience in graphic design and book publishing. Jan was born in St. John’s Newfoundland, Canada and currently lives in Toronto, Ontario area with her family. She has a Bachelor of Arts degree in Fine Art and has been illustrating for over 15 years.

Jan has illustrated over 25 picture books and is the illustrator of the Gabby picture book series: Gabby, Gabby: Drama Queen and Gabby: Wonder Girl written by Joyce Grant published by Fitzhenry & Whiteside. Gabby was nominated for the Rainforest of Reading Festival award in 2014 and won the Rainforest of Reading Festival – Monserrat award in 2015. Her work with the young adult health publication Below Your Belt, How to be Queen of Your Pelvic Region was recognized for excellence within the Independent Publishing industry in 2015. Jan’s illustration work for Be Proud to be Blue written by Diane Hull was recognized by The Wishing Shelf and won the bronze award in 2021.

Just released – Willa the Werewolf, by Michele McAvoy – an early reader published by Little Press Publishing / Fall 2023

Jan is a member of the Society of Children’s Book Writers and Illustrators (SCWBI), the Canadian Children’s Book Centre, Illustrators for Hire and ChildrensIllustrators.com. 
She lives and works in Toronto, Canada.

Jan can be found at:
Websites: 
www.jandolby.com 
https://idrawanimals.myportfolio.com/
Illustrators for Hire: https://www.illustratorsforhire.com/featuring/jan-dolby-illustrator-for-hire
Childrensillustrators.com: https://childrensillustrators.com/jandolby/portfolio
Email: jandolby@bell.net

Instagram: @jandolby_artist
Twitter: @jandolby

When did you know you wanted to become an illustrator?

I have always loved picture books, but I think it was after I had my first art exhibit of my children’s paintings that the response to that show was “you need to illustrate for children”.

How long does it typically take to make a page or cover for a book?

It takes me three to six months to finish illustrating a picture book because everyone involved is incredibly organized and communication is excellent. Covers take some time to make sure it is really eye catching. Probably a good week.

What’s your favourite piece of art equipment?

My favourite tools I use are Photoshop, my drawing tablet and my iPad. Favourite materials are paper, a good pencil and black marker.

Do you have a favourite colour scheme, if so what and why?

Pink is one of my favourite colours to work with. When I add orange, red and green, I’m pretty happy.

Who were your inspirations when starting out?

Marie-Louise Gay (Canadian illustrator) is still my biggest inspiration. I met her in a cafeteria line at a conference and nearly fell over with excitement. Other inspirational beings Peter H Reynolds, Hilary Knight, the Muppets, Charlie Brown characters, Sesame Street. I could go on and on.

Do you have another job beside being an illustrator, if so what?

I should have another job, but I don’t. I market myself as much as I can and illustrate as much as possible to keep my studio business going.

What do you do to overcome a creative block?

It happens. I change what I am reading, what music I listen to and things get better. Change is good.

Do you have a favourite piece in your portfolio, if so could you share it and talk about it?

My favourite portfolio piece changes all the time. Currently it is the penguins in the ocean.

What was your first book related project?

My very first book I illustrated, interestingly enough, was about the cold virus and how you need to wash your hands a lot.

What type of media do you prefer to work in and why?

I prefer digital with some original artwork scans. I like collaborating the two. Easier to make corrections and increases my creativity.Do you have a playlist you like working to? If so do you want to share it?

No playlist

Do you have any rituals when working?

I watch Disney and sci-fi shows to keep me sitting in my studio chair while working on my computer.

Did the books you read as a child influence your work?

I read Dr. Seuss, Eloise, ….mind is blanking.

Has your illustration/art style changed over time?

Has changed quite a bit. I used to paint all of my illustrations in acrylic paint and digitize them. That style seemed a bit dated so now i draw mostly in pencil and digitize and complete the illustrations in Photoshop.

How closely do you work with the author on developing the illustrations for a book?

If I work with a traditional publisher I don’t work closely with the author. If it is a self-publishing project I do work closely with the author.

If you could illustrate any classic book which would it be and why?

Any classic book about monsters would be terrific.

If you can please tell us about your latest project and if not your last project

My latest project is a series of three early readers, fractured fairy tales…right up my alley.

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Rowena Aitken – Author Q&A

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Rowena Aitken

Rowena Aitken

Rowena is a prolific artist who has worked on a wide variety of projects since she became a freelance illustrator 14 years ago. This includes The Wee Book o’ Scottish Mindfooness – A small illustrated book on mindfulness packed with Scottish colloquialisms, Our Big Box – A reminiscence tool for those with dementia and their families and The Hoots – A monthly comic following the musical adventures of The Brainiacs in Brilliant Brainz magazine.

In her spare time, she writes tutorials for other artists keen to learn digital art skills whatever their age.

Rowena has illustrated two popular children’s books: Ruan The Little Red Squirrel (2016) and The Kilted Coo (2017) before collaborating with Elisa Peacock on The Bum That Barked (2020). Her current projects involve educational illustrations primarily in the Irish language specialism and creating the artwork for Ren Cummins’ debut children’s book Princess Peanut, Be Polite (Coming 2023).

Rowena is represented by D’avila Illustration Agency & António Adrião Artist Representative

Rowena can be found at:
Website: rowenaaitken.com
Email: rowena@rowenaaitken.com
Twitter/X: @rowenaaitken
BlueSky: @rowenaaitken.bsky.social
Instagram: @rowena.aitken.illustration
Etsy: rowenaaitken.etsy.com/
Redbubble: www.redbubble.com/people/roaitken/shop
Linkedin: www.linkedin.com/in/rowena-aitken-illustration/

When did you know you wanted to become an illustrator?

I’ll start off with the stereotypical answer that I have always drawn. I was a nuisance when I was wee & I think drawing was the only thing that made me sit down for 5 minutes. My parents encouraged me & were always my biggest champions. I was forever lavished with pens, pencils, paper and paint.

I always wanted to become an artist but never realised I could become an illustrator – careers advisors at high school were generally stumped if you wanted to go down a non-standard career path. After graduating with a degree in Animation I drew for pleasure & posted on deviantART (now deleted account) until a perfect life storm came along & I thought “Why not try being a professional illustrator? Worst case I need to get a real job!”. That was 14 years ago.

It’s not easy & always a work in progress; developing, learning & evolving. I don’t think I can see myself doing anything else.

How long does it typically take to make a page or cover for a book?

Blimey! How long is a piece of string?

My answer is it takes as long as it needs to be right or good enough for the deadline. Is everything I send off perfect? Of course not. Perfection is a fool’s errand.

What’s your favourite piece of art equipment?

Definitely my Wacom 27QHD Cintiq – It changed the way I work. I was using a Wacom Intuos 4 XL tablet for about 10 years (still got it, still works) but then I started getting wrist issues. A friend of mine sold me their small Cintiq & although the drawing area was smaller than what I was used to, it was a game changer. It turned out the wrist issues were carpal tunnel syndrome in both wrists (which I had surgery for – great success!) so I invested in The Big Wacom that a Twitter pal was selling at the start of the pandemic. My posture & workflow has never been better!

Creatives – look after your body!

Do you have a favourite colour scheme, if so what and why?

I tend towards cooler colours; teal, purple, lime green but also a bit of shocking pink.

Who were your inspirations when starting out?

I’m not sure! I think it was pure pigheaded determination to prove I could do it.

Pixel the Cat

Pixel the Cat

Do you have another job beside being an illustrator, if so what?

On call servant to Pixel the cat.

What do you do to overcome a creative block?

Creative block is very easy to overcome if you have a deadline. It’s also easy to solve if you can bounce ideas around & chat about a problem with someone. My other half Andrew is fantastic for this.

Creative block on personal projects is an entirely different animal. I feel giving yourself constraints helps – if you can draw anything then you invariably end up drawing nothing. A short brief is usually all I need.

Do you have a favourite piece in your portfolio, if so could you share it and talk about it?

Yes it’s the Space Dinosaurs! I don’t recall why I thought “yes, dinosaurs in space” but I’m glad I acted on that whim.

Space Age Dinosaur

Space Age Dinosaur

What was your first book related project?

My first children’s book was Ruan The Little Red Squirrel which came out in 2016. I have a lot of mixed feelings about this book – the day I got the contract for this book I found out my Dad had cancer. Sadly he passed away before I could show him the finished printed result but I shared updates with him during the process. I’m incredibly proud of the book – I feel though it’s not my best work but given the circumstances it’s testament to how I can produce something even in the toughest of life’s situations.

Ruan, The Little Red Squirrel

Ruan, The Little Red Squirrel

My second book The Kilted Coo (written by Rachel McGaw & published by Forth Books) was dedicated to my late Dad. I felt I did this one justice & he’d be proud.

The Kilted Coo

The Kilted Coo

What type of media do you prefer to work in and why?

These days I work 100% digital – I use Photoshop & a Wacom 27QHD Cintiq. I do enjoy working with pencils however I don’t have the space at the moment.

Do you have a playlist you like working to? If so do you want to share it?

It really depends on what I’m working on – if it’s the sketch/planning stage it’s ambient music. Right now it’s the Death Stranding soundtrack, Aphex Twin, Leftfield, Radiohead, Hans Zimmer soundtracks. If it’s the refining & rendering stage I listen to audiobooks, Metallica, Prodigy, Chemical Brothers.

Do you have any rituals when working?

I try & use the Pomodoro technique where I work in 45min blocks then get up, go to the little illustrators’ room, make a coffee/get a drink/snack & have a bit of a stretch.

I also have either a mug of strong black coffee &/or a pint of ice cold water.

Did the books you read as a child influence your work?

I suppose they must have, however my love was cartoons. So much that I ended up studying Animation at Duncan of Jordanstone College of Art & Design, University of Dundee.

I love Chuck Jones’ work – the expressions & dynamic poses are incredible & I try to pay homage to those factors in my work.

Has your illustration/art style changed over time?

Absolutely! I started off working in tabletop RPG art (despite the fact I have never played it in my life). The art was predominantly black & white because it was cheaper for publishers who tended to be self-pubs & paying out of their own pocket. I was more rigid back then – probably because I was starting off with digital art as a job. I had been using a tiny Wacom Graphire 4 A5 for a couple of years but I hadn’t loosened up yet. My “real” art was the opposite; very loose, flowing, scribbly. Now my digital art is fluid as heck. It’s now cute, round, soft, gently textured with popping colours.

How closely do you work with the author on developing the illustrations for a book?

For all my books I’ve worked very closely – my current project Princess Peanut, Be Polite I speak with Ren (Cummins) every couple of weeks. I have been known to randomly message him with an idea. I love that way of working because I can really get inside the author’s mind (plus we get to add in little details/inside jokes/fun references).

If you can please tell us about your latest project and if not your last project

I’ve been working with the fab & lovely Ren Cummins on his debut children’s book Princess Peanut, Be Polite. This is the story of a fussy princess who is implored by her governess to try new food. The artwork is almost complete & we hope to have the book out in Q4 of this year!

Princess Peanut, Be Polite

Princess Peanut, Be Polite

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Rikin Parekh – Illustrator Q&A

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Rikin Parekh

Rikin Parekh

My name is Rikin Parekh and I’m a Children’s book Illustrator based in North West London. I also work as a LSA (Learning Support Assistant) in primary schools.

I studied at Camberwell College of Arts, then at the University of Westminster in Harrow. After graduating, I freelanced as a Film Production Illustrator working mainly on monster movies.

I then decided I’d love to follow my first true love of picture books and turned my hand to children’s publishing.

I’m an avid film buff, love collecting old comic book art, reading sci-fi novels and meditating. I also LOVE eating pizza.

My influences range from Jim Henson, Sir Quentin Blake, Colin West, Val Biro, Judith Kerr, Kandinsky, Jimi Hendrix, and the great Chief Inspector Jacques Clouseau.

P.S. That is not my dog (but I wish he was!)

Rikin can be found at:
Website: www.rikinparekh.com
Twitter: @r1k1n
Instagram: @r1k1n_parekh

When did you know you wanted to become an illustrator?

I think it was during primary school, I saw all the picture books and was just blown away and knew that’s what I wanted to do, somehow!

How long does it typically take to make a page or cover for a book?

It takes a good week, maybe two. I care for my disabled mum and help around the house too so much of my time is taken up with care and chores, but I’ve learned how to juggle all of this (and be really good at asking for extensions!) Also, I hand drawn/colour everything, no digital art whatsoever so that makes it’s even longer.

What’s your favourite piece of art equipment?

I think, if you asked me a few years back, I would say my dip pen, and it still is to some degree, but it’s most probably a tie between the Polychromos pencils that I use to draw and the brushes I use to ink now, as supposed to inking solely with dip pens like I used to do years back.

Do you have a favourite colour scheme, if so what and why?

I don’t really, but I do love bright colours, energising colours like yellows, oranges and warm blues.

Who were your inspirations when starting out?

The classics like Dr Seuss, that was huge, Jim Henson and Quentin Blake.

Do you have another job besides being an illustrator, if so what?

I do, I also work, when possible, as a Teaching Assistant in Primary schools. I find it deeply rewarding and so much fun.

What do you do to overcome a creative block?

Meditate, watch a film, try to go out in nature or just listen to music

Do you have a favourite piece in your portfolio, if so could you share it and talk about it?

I don’t really! I find that the spontaneous sketches are the ones that are really cool.

What was your first book related project?

It was a series of picture books written by an Irish Canadian author, Bernard P Morgan. I was really new (illustrating books) i and was so lucky that Bernard gave me full artistic licence!

What type of media do you prefer to work in and why?

I prefer to work traditionally, using black Indian ink, concentrated watercolours, polychromos pencils and the odd crayon. I find it’s much more instinctive and raw and I find I can put across the feeling and passion straight away.

Do you have a playlist you like working to? If so do you want to share it?

It differs, it can be Liquid Drum and Bass, Chill to Psychedelic Rock from the 60’s, Hendrix/The Beatles or sometimes feature film soundtracks.

Do you have any rituals when working?

Good music, light some incense and be in the moment of joy in doing what I love doing.

Do you have a favourite artist outside of the world of books, if so who and why?

Mainly the inking masters of comic book art, John and Sal Buscema, John Romita and Wassily Kandinsky.

Did the books you read as a child influence your work?

I think so, I read lots of US comic books and watched lots of films so I’d like to think my illustrations have that filmic narrative.

Has your illustration/art style changed over time?

Very much so, at first, it was mirroring Dr Seuss, I copied him, his colour schemes etc, but now I am much more open and less constrained to the black ink line.

How closely do you work with the author on developing the illustrations for a book?

I try to strike up a conversation so I know I’m doing the right thing, especially as it’s their vision, that is important to me. I’m always in a state of gratitude towards those authors so I try to take on as much as they want, i.e. their visions and ideas into the illustrations.

If you could illustrate any classic book which would it be and why?

It would be ‘The Enormous Crocodile” by Roald Dahl, I loved the character and the story! The character more tbh!

Which illustrated books in the last year have you loved?

I’ve not been able to read many tbh, I’ve just been far too busy! 🙁

If you can please tell us about your latest project and if not your last project

I’m just finishing up on a wonderfully bonkers picture book with Walker Books, am nearly done final artwork for the next “Worst Class in the World…” series and am in the early stages of working on a TOP SECRET PROJECT and there other projects coming soon…

Do you have any events on in the near future?

I have a couple of school events but apart from that I do not know, there might be some on the way!

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Lynne Russell – Illustrator Q&A

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Lynne Russell

Lynne Russell

Lynne Russell is an artist who works with great sensitivity and passion for her subject. Born in London, she has travelled extensively drawing inspiration from her time in Africa, India and especially Central America. After studying art foundation at Goldsmiths College, she undertook a BA in fine art at Wimbledon School of Art (taught by Maggi Hambling and Bernard Cohen).

At Wimbledon she won the student union prize for her painting ‘Home sweet home’ (Oil on canvas – 5’6″ x 8′). This painting was accepted for the ICA’s Young Contemporaries Exhibition (1982) where it won the Windsor & Newton prize for painting.

Lynne studied Post-Grad illustration at St Martin’s School of Art. Her work was seen by publishers Heinemann who asked her to illustrate her first picture book entitled ‘One Smiling Grandma’. This book was nominated for the Kate Greenway award, was on the SATs official reading list for two consecutive years and exhibited in the Society of Illustrators ‘Best of Children’s Book Illustration’ exhibition held in New York.

Lynne can be found at:
Website: www.lynnerussell.co.uk
Twitter: @lynnerussellart
Instagram: @stinkydogbook
Facebook: Stinky-Dog Book

When did you know you wanted to become an illustrator?

I decided to be an illustrator in my mid teens.

How long does it typically take to make a page or cover for a book?

It takes 30-40 hours per image.

What’s your favourite piece of art equipment?

My electric pencil sharpener till it broke. Now my sable brushes.

Do you have a favourite colour scheme, if so what and why?

I like bright colour not neutrals.

Who were your inspirations when starting out?

Edmund Dulac

Do you have another job beside being an illustrator, if so what?

I am also a Fine Artist, portraits/travel pictures

What do you do to overcome a creative block?

For inspiration I go to a new environment/travel eg. Venice Carnival, Marrakesh souks or go to exhibitions

Do you have a favourite piece in your portfolio, if so could you share it and talk about it?

My fave piece: my current picture book – the Kangaroo Barbecue picture & the lion in mankini dancing.

What was your first book related project?

My first book commission became a worldwide bestseller luckily! ‘One Smiling Grandma’ nominated for the Kate Greenaway award, exhibited in NYC by the Society of Illustrators and on the official schools list for 2 years (SATs)

What type of media do you prefer to work in and why?

I do all my work by hand: oils/acrylic/watercolours/pen&ink or pencil.

Do you have a playlist you like working to? If so do you want to share it?

Always listen to music – depends on my mood: classical/soul/pop/retro

Do you have any rituals when working?

No rituals but like to start with a clean palette

Do you have a favourite artist outside of the world of books, if so who and why?

Influences: Diego Rivera, Degas, Lucien Freud

Did the books you read as a child influence your work?

Yes influenced by reading from childhood: Malory Towers/Anne of Green Gables, To Kill a Mockingbird, Marjorie Morningstar. Later Maya Angelou books. Classics: Pride & Prejudice etc

Has your illustration/art style changed over time?

Style has changed – less realistic more expressive. Less from life, more from imagination. I have also written 2 picture books now in which my style is more cartoony and fantasy.

How closely do you work with the author on developing the illustrations for a book?

Don’t work with the author – with the art director in Trad Pub. But now write/illustrate/design & published myself.

If you can please tell us about your latest project and if not your last project.

Currently painting an acrylic painting on canvas for the Brain Tumour Charity exhibition ‘Time’.

I had a tumour and brain surgery to remove it so this is an expression of my experience. Has been a turning point in my painting work – going full circle back to more personal, expressive work I was doing decades ago on my Fine Art degree.

Do you have any events on in the near future?

Working for the Brain Tumour charity which is: ‘Time’ Exhibition is 5-15th April at Islington Design Centre.

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Steve May – Illustrator Q&A

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Steve May

Steve May

Steve May is an animation directorx & freelance illustrator based in London (UK).

He was born in sunny Hastings & studied painting & film-making at Trent Polytechnic (1988-91) and after several years working as an illustrator / animator, a roady for Nirvana (once) & aspiring (but unsuccessful ) pop star gained an MA in Animation at the Royal College of Art (1999-2001)

As an animation director his films Anger & Rabbits won the Association of Illustrators Gold New Media Award in 2012 & 2010. X&Y (2008) was shortlisted for the British Animation Awards 2008 & has been screened internationally. His films Gut (2001) & Round (2000) have been screened in numerous international festivals & he has directed work for commercials & television including Cyberstreetwise for HM Government, & Spacehopper Man for BBC 3’s acclaimed Monkeydust series.

As an illustrator he has produced high quality illustration work for a variety of clients including Marks & Spencer, Harper Collins, The Guardian, The Economist, Puffin & Faber amongst many others.

He is currently represented by Picasso Pictures (for moving stuff) & Arena illustrators agents (for still stuff)

He lives in glamorous north London & his mum says he’s a genius.

Steve can be found at:
Website: http://www.stevemay.biz
Arena Illustration: http://arenaillustration.com/portfolios/steve-may
Blog: http://www.stevemaystuff.blogspot.co.uk/
Twitter: @stevemaythe1st
Instagram: @stevemaythe1st

When did you know you wanted to become an illustrator?

I always drew obsessively as a kid but I didn’t realise you could do it as a living until I was about 10 years old & discovered 2000ad

How long does it typically take to make a page or cover for a book?

Ha ha! How long is a piece of string? It depends how many characters are involved. My present book has a big cast of characters so the cover was quite complicated!

What’s your favourite piece of art equipment?

I love dip pens although I’m a rather destructive illustrator & I frequently destroy them!

Do you have a favourite colour scheme, if so what and why?

I seem to often lean towards purples & oranges but nothing in particular

Who were your inspirations when starting out?

There are SO many artists I love but Tove Jansson (Moomins) Mick McMahon (Judge Dredd etc.) Albert Uderzo (Asterix) & Ralph Steadman all had a huge influence on me

Do you have another job beside being an illustrator, if so what?

I’m an animation director & I lecture in animation.

What do you do to overcome a creative block?

Eat things I shouldn’t or go for long walks & start up conversations with random cats I meet in the street.

Do you have a favourite piece in your portfolio, if so could you share it and talk about it?

It changes all the time. I like to feel I’m always moving forward so it’s usually something I’ve done recently. I’m rather fond of the cover from Supernan’s Day Out by Phil Earle which was published last year 2022 by Barrington Stoke – it’s got lots of things I love in it, superheroes, the seaside, ridiculous animals (& if you look closely there’s a little cameo of me wearing a striped shirt eating an ice lolly & holding an inflatable fish in the background.

What was your first book related project?

I *think* the first children’s book I illustrated professionally was called ‘James & The Alien Experiment’ by Sally Prue back in 2005.

What type of media do you prefer to work in and why?

I love pen & ink but I generally work digitally so my stuff is usually a bit of a hybrid.

Do you have a playlist you like working to? If so do you want to share it?

I like noisy music when I’m colouring in!

Do you have any rituals when working?

Does ‘pulling stupid faces’ count?

Do you have a favourite artist outside of the world of books, if so who and why?

Too many to mention, early Hockney, Francis Bacon, Jean Dubuffet, Aubrey Beardsley (& all the other ones I’ve forgotten!)

Did the books you read as a child influence your work?

Very much so! I loved the Asterix & Moomin books & Richard Scarry’s work was phenomenal. (I had the honour of getting a quote on the covers of recent Scarry reissues from Faber which was VERY exciting!)

Has your illustration/art style changed over time?

Yes, but gradually. (although I’m sure my critics would say I just drew the same nonsense over & over again!)

How closely do you work with the author on developing the illustrations for a book?

I like to be able to send over character ideas & discuss them with the author – sometimes I’ll ask them if they have anybody in mind for a particular character. When I was working with Harry Hill we concocted a villain who was half Nick Cotton from Eastenders & half ‘Evil-David Dickinson’!*

(*You’ll only know David Dickinson if you watch too much daytime TV!)

If you could illustrate any classic book which would it be and why?

Alice in Wonderland would be fun but I’d also love to have a crack at Andy Stanton’s Mr Gum books!

Which illustrated books in the last year have you loved?

Too hard! I did rather love Sister Clawdetta by the brilliant Tor Freeman!

If you can please tell us about your latest project and if not your last project

My latest project is a picture book with the brilliant Francesca Simon which I’m sworn to secrecy on – I’ve been working with Francesca on her Two Terrible Vikings series for Faber but this is a new picture book for younger readers – hilarious & VERY colourful – watch this space…

Do you have any events on in the near future?

I’m doing Wimbledon Bookfest for World Book Day on the 9th March with Francesca Simon talking about our latest book Two Terrible Vikings – Feast With The King – expect mayhem (that’s MAY-hem of course!)

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Robyn Wilson-Owen – Illustrator Q&A

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Storytime

Storytime

I am an illustrator and author based near Cambridge. I create bright, engaging, and expressive images using dip pens and ink washes.

I studied children’s book illustration at Cambridge School of Art and graduated with a MA with distinction. As well as creating my own stories I illustrate books for other people, including Joseph Coelho and Anne Booth. Before I started making books I designed sets, costumes and puppets for theatre, a job which took me on many adventures.

My most recent book – Hedge Lion – was a finalist for the 2023 Bologna illustrators exhibition.

My books have been selected as The Sunday Times children’s book of the week and among The Guardian best books of the summer 2020, long listed for the UKLA book awards and the Spark book awards, and selected to be part of the Empathy Lab ‘read for empathy’ list. I was shortlisted for the Batsford Prize 2018 and the Searle Award for Creativity 2019 and I am represented by Elizabeth Roy Literary Agency.

Robyn can be found at:
Website: www.robynwilsonowen.com
Twitter: @robynwilsonowen
Instagram: @robynwilsonowen

When did you know you wanted to become an illustrator?

I came to illustration rather late, after a long love affair with theatre. I trained as a theatre designer and worked in wardrobe and design for many years creating sets, costumes and puppets. I always loved to draw and wanted to draw, but I never felt I was good enough. Eventually I got old enough to stop caring and just got on and did it! Theatre design and illustration are very similar in many ways, just now I don’t have to worry about the practicalities of how to make the background stand up, or whether the actors will agree to wearing the costumes!

How long does it typically take to make a page or cover for a book?

Making the final artwork for a spread takes a day or two, but that is only a very small part of creating the image. Before the final artwork there are hundreds of pencil sketches and colour experiments. When I come to make the final artwork everything is already very carefully planned out.

What’s your favourite piece of art equipment?

My dip pen and collection of vintage nibs.

Do you have a favourite colour scheme, if so what and why?

I have quite a specific range of colours I like to use, which vary slightly with each book. I try to use colour very deliberately to convey meaning and guide the eye. I tend to use specific red, blue and yellow inks to mix all the colours I use. I supplement those with an occasional pop of magenta and paynes grey for shadows, alongside sepia ink for my line work. I like sepia for my line as it feels just a touch softer than black line and I feel it sits more comfortably with my colours.

Who were your inspirations when starting out?

I grew up on a diet of AA Milne, Shirley Hughes, Brambly Hedge, and the Albergs, I just love line and detail and stories about the small every day parts of life which I think that comes from those very earliest of influences. My favourite book, which had to be read over and over as a small child, was called “Plucky Pufftail’ by Willy Schermelé. It is very old fashioned and has lots of black and white line drawings, which have clearly permeated my subconscious and influence everything I do.

Do you have another job beside being an illustrator, if so what?

I teach non creatives how to think creatively for Cambridge Uni, I teach drawing in evening and weekend classes, and I work as publishing assistant for Boxer Books. I have in the past also been a school librarian and a bookseller.

What do you do to overcome a creative block?

I draw. I don’t really believe in creative blocks though, I’m a craftsperson who just gets on with their craft every day. If one story isn’t working I move on to another. If a drawing isn’t working I go and find something to draw from life that will inform it. Creative blocks are just a fear of failure/perfectionism I think, once you get used to the idea that everyone makes bad work sometimes you can just get on with it.

What was your first book related project?

The first picture book I illustrated was ‘No Longer Alone’ by Joseph Coelho. Joseph’s writing is amazing, and I was very lucky to have such wonderful words to work with for my first professional project. Joseph is now the children’s laureate, so I’m incredibly lucky to have been in the right place at the right time and got to work with him.

What type of media do you prefer to work in and why?

I work in ink line, I like the permanence, that you have to accept mistakes and incorporate them. I also use waterproof ink for my colours and again I like the permanence, and that I can work in layers. I feel like I am a printmaker who paints.

Do you have a playlist you like working to? If so do you want to share it?

I am a Beatles obsessive and at the moment I always put the the ‘Get Back’ documentary on when I work so I can pretend John, Paul, George and Ringo are my studio mates bickering in the background!

Has your illustration/art style changed over time?

I have massively refined the way I work over the past few years. I have learnt a lot about nibs and ink and paper and spent a lot of time looking at how other artists approach line work. I have always found colour really difficult and I have worked hard at developing full colour illustrations, at the beginning my colour was very limited. I still love extremely limited colour but to move forward I had to expand my range.

How closely do you work with the author on developing the illustrations for a book?

Not closely at all! I am generally given a text and left to interpret it as I see fit. I then produce pencil roughs and respond to feedback on them. That feedback has always come via the publisher, so I’m rarely aware whether it’s something the author thinks or a designer/editor etc. I didn’t directly interact with Joseph until long after ‘No Longer Alone’ was finished, and I have never met Anne Booth who wrote ‘Bloom’ in person.

If you could illustrate any classic book which would it be and why?

I’d love to have a go at the Wind in Willows. All that gorgeous nature and potential for delicious details…

Which illustrated books in the last year have you loved?

the Worry Jar illustrated by Jenny Bloomfield, Don’t be Silly by Padmacandra and The After Christmas tree by Bethan Welby.

If you can please tell us about your latest project and if not your last project

Hedge Lion was published on February 2nd in the UK and March 7th in the US. It’s an incredibly special book for me, one I have been working on for 6 years and is based on a place where I lived for 14 years. The main (human!) character is my youngest daughter, Ida. In the book she sees Hedge Lion every day on her walk around town. Hedge Lion wants everyone to think he’s a hedge, not a lion, because nobody is scared of hedges. But Ida is brave, she notices things that other people don’t, and she’s not fooled. She knows Hedge Lion is a lion, she just needs to help him find his roar…

Do you have any events on in the near future?

I am doing a variety of school and bookshop events over the next few months, all the details can be found on my website http://www.robynwilsonowen.com I love running events so if you know a school or bookshop who would like to have me then get in touch!

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