Interview with Nicola L. Robinson, illustrator turned author and the trials, tribulations and triumphs of a change of hats!
First off, HEARTY CONGRATULATIONS on the release of “The Monster Machine” with Pavilion Books – a sort of mad inventor meets Granny’s knitted nightmares joy of a book!
Have you always had a strong visual sense of story?
Yes I have, I’ve always loved drawing (like all illustrators I should imagine!) but particularly loved drawing pictures with something happening in them, be it a big thing chasing a small thing or any kind of interaction between my creations. As a child I’d name the characters and make up stories around them..
I grew up and went to university and did a degree in Fine Art, which was fantastic, but I realised my work was more illustration and less ‘Fine Art’. I have always looked for the story in the picture, and love adding narrative details to things, be it a little mouse hiding behind a teapot or something more sinister watching through a crack in the curtain... I am a visual thinker, but at this point I didn’t consider writing the actual words down to go with the illustrations.
What were your favourite storybook images as a child and how did they influence you as an illustrator and the style you adopted as ‘you’?
I didn’t have many traditional picture books, I did however pour over photos of crocodiles and snakes from a really old book on ‘The Animal Kingdom’. One of my favourite storybooks was a book of Greek Myths which had a lot of colour plates inside of the various mythological beasts and some nice black and white ink illustrations, fairly traditional in style. My favourites were always the ones I could imagine myself being in, something with some perspective, or one where you can see inside an open door or window. I also loved the Hobbit by JRR Tolkien, with Smaug the dragon. I have drawn many dragons since then and continue to do so today.
I have always loved the traditional fairytale illustrators like Arthur Rackham and others like Aubrey Beardsley and more recently Edward Gorey. Black and white ink illustrations in particular have always appealed to me, as has the sinister so I expect I have absorbed a little of their influence into my current working style. I certainly hope so!
Do you have a favourite among your previous illustrative projects? Would you tell us something of the creative process involved in bringing the images to light?
My favourites change all the time, but I am still very attached to a detailed illustration from last year titled ‘Downtown’
It started off like so many drawings as a few scribbles on the page, I could see a cityscape of sorts in my head… I often write lists of words and ideas to include in a piece, little descriptions like ‘Dark alleys’ and ‘Iron Bridges’ just as little word pictures, alongside thumbnails which I find very helpful.
From here it gets its structure and is drawn out. If I’m going to be working in colour I usually stretch some paper at this point before transferring the idea to it.
I work up the details in pencil…Display Comments Add a Comment