ABOUT CHILDREN’S BOOKS

It was during my foundation course as Art College that it dawned on me that nothing is ever quite ‘new’. Claims can be made that artists (including the performing arts and music) are creating new approaches to their genre; whereas in reality they tend to be just amalgamations of other influences.

I admit to knowingly give my books a feel which, I fear,  cannot be unique but will reflect the stories and illustrations of others, choosing the elements which appeal to me the most.

I have already said that I have had certain influences during my career and I know that some elements I use are clearly rooted in the imagery and words of others.

This can either demean my books or simply reward others for their input during their creative years. I prefer to thank those for their contribution to our visual world.

Arthur Rackham in his illustrations of fairy tales, Alfred Bestall in his superb pictures of Rupert the Bear, Alan Aldridge for the Butterfly Ball and Peacock Party, and the glory of John Tenniel’s ‘Alice’. Each so completely different yet creating superbly evocative worlds from which it is hard to escape.

The most challenging time for illustrators is this 21st century.

The development of the computer has been a ‘double-edged sword’ which has given artists tools which, when used well, are quite amazing.

Unfortunately this same amazing tool can be misused easily. Sterile, lifeless and even poorly represented characters have become common-place.

Although I use a computer graphics programme extensively I decided at the beginning that the teddy-bears had to be traditionally represented. It means that faults probably abound (given that my drawing table, cartridge pads etc do not have ‘UNDO’ buttons).

Thus they all exist in drawing pads, portfolios as well as in scanned form.

I do not have to worry if the JPEG format ever becomes defunct either.

So the 400+ illustrations live in a real world. As do my teddy- bears.

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