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A hopeful tale of friendship and flower power, Alison Jay‘s wonderful wordless picture book Bee & Me opens with a young girl startled by a buzzing bee.
No-one likes to be stung and it looks like the bee might be all over before the story’s even begun. Fortunately, a crack in the door of curiosity and bravery opens up the way for an joint adventure bringing plants and flowers across the grey city, delivering beauty and benefits to all city inhabitants, whether honey bees or humans.
Many layers of storytelling run parallel to the main plot. Repeat readings will lead you into the lives of several city inhabitants, when you peer through apartment windows, watching what happens as time passes and the plans of the girl and her bee blossom. It made me think of a recent discussion I had with author Phil Earle, in relation to his fabulous Storey Street series, where he talked about his firm belief that there is story worth hearing behind every door (or in Jay’s case, through every window). A further strand in Jay’s fabric of storytelling follows the growth of friendship between the girl and another young resident in her block of flats, as if distilling how nature can save us from loneliness and make us feel re-connected once more.
Worldwide, bees are in decline. Because of their role as pollinators, we need bees, and bees – facing the threat they now do – need us. This upbeat, optimistic, can-do example of how children are able to make a real and beneficial difference to their world will hopefully inspire a new generation prepared to make a difference.
Enthused by Bee & Me the girls and I set about creating lots of Bee Seed Tape to give away to all our fellow allotmenteers. Seed Tape is a strip of biodegradable material with seeds already imprinted in it, evenly spaced and super easy to use for speedy planting.
First we dyed (organic) toilet paper, spraying it with natural food colouring.
When the paper was dry, we stuck on seeds using a thick flour/water paste (as thick as possible, so that the moisture in it didn’t encourage the seeds to germinate). We chose to use seeds for sunflower and borage because bees love these plants and the seeds are large enough to handle easily.
Once our seed tape was dry we turned it into bees. Our bee body (which was designed to double up as a plant label) was made from a lollipop stick on which the seed types written on it.
The seed tape was wrapped around the lollipop and held in place with some black ribbon to create bee stripes. Ping-pong balls and pipecleaners were used to create bee heads, and instructions for planting the seed tape were stuck onto black cardboard wings (you can download the template here if you’d like to use ours) threaded on to the black ribbon.
Now it was time to share and plant our bee-friendly seeds so off to the allotment we went:
Here’s the seed tape rolled out before we covered it up with soil.
I don’t think I’ve ever seen such fun seed labels before!
Other activities which might work well alongside reading Bee & Me include:
Using out-of-date seeds to create mosaic artwork. Seeds and seed pods come in the most spectacular range of shapes and sizes and are great fun for using as an art material.
Going on an after-dark walk around the neighbourhood to look in windows. Can you spot, as in Bee & Me, someone reading a book? Someone painting a picture? Someone knitting, (extra points for these) tossing a pancake or writing a story on a typewriter? What tales could be behind these glimpses into the lives of others?
Adopting a small public space in your street (perhaps by a verge or under a tree) and planting some flowers or herbs to brighten up the lives, not just of bees, but also of your neighbours? Be inspired by Todmorden’s community herb gardens or London’s Guerilla Gardeners (with examples from around the world).
If you liked this post you might like these other posts by me:
Alison Jay was born in Hertfordshire, grew up in Derbyshire and studied graphic design in London where she now lives. After graduating she worked in animation for a short while but gradually started to get commissions in illustration.
She works in Alkyd a quick drying oil paint on paper and sometimes adds a crackle varnish to give the work an aged appearance.
She has worked in all areas of illustration including advertising ,packaging, editorial and design. Her commission’s include a 48 sheet poster for B.T, a TV commercial for Kellogg’s corn flakes and has recently illustrated the new baby range of products for Crabtree and Evelyn.
She has also illustrated lots of children’s books including ‘Picture This’, ‘William and the night train’,’The Race’, ‘I took the moon for a walk’, ‘The Emperors new clothes, If Kisses were colours, ‘ABC Alphabet’.an unabridged fully illustrated version of ‘Alice’s Adventures in Wonderland’,Listen Listen’ ,Welcome to the Zoo ‘, A Child’s first Counting Book’ ‘Today is the Birthday of the World’ and ‘Nursery Rhyme Rainbow’. She recently worked with Aardman Animation on the development of a feature film and is currently working on a version of ‘ The Nutcracker’.
Her book ‘ Welcome to the Zoo’ which is a wordless visit to a cage less ‘ animal hotel’ has been selected as one of New York’s Bank Street’s 2009 best books of the year.
Here is Alison explaining her process:
This is the rough I e-mailed to the publisher, which I drew at A4 size.
The next is a photo of the drawing enlarged to A2 size, slightly larger than the print size. I trace the drawing very faintly onto thick smooth cartridge paper using a very heavy weight 100lbs/220gms.
I then start to paint, usually the sky first using Alkyd a quick drying oil paint and then the rest of the background.
If I am painting fine details, I sometimes add liquin to my paint. This helps the paint to flow easier. It is also helps the paint to dry quicker. I do not use any liquid adhesives to avoid painting mistakes. I just avoid the area and paint the background as close to the edge as I can.
Final without text. The publisher always needs to see the work before I apply the crackle varnish in case of any changes or mistakes so I usually e mail photographs or scans for them to check. Then after I finish that final step I send the art work to the publisher to scan. If the commission involves fewer illustrations I have scanned the art work professionally and uploaded the scan to yousendit or wetransfer for the editor or art director. This especially works well if the job is urgent or when the publisher is located in another country.
How long have you been illustrating?
I have been Illustrating for nearly 20 years.
Where did you study Graphic Design?
I studied Graphic design at the London College of printing which is now the London College of Communication.
Did the School help you get work?
No I think it was a bit of a shock when I left college, although my older sister who also studied Graphics and specialized in illustration had left college two years earlier and was finding it very tough so I should have realised .. My illustration tutor may have suggested how to make appointments and show my portfolio but she didn’t introduce me to any art directors or help me get work.
What was the first thing you did where someone paid you for your artwork?
I think the very first thing I was paid for was an illustration for an article in a music paper NME ,I was so excited to see my work in print, it was a simple black and white pen and ink drawing.
What type of job did you do right after you graduated?
After I graduated I found it difficult making a living at illustration, I had been very interested in animation at school so in addition to making appointments for illustration work I visited animation studios ,I was given some freelance work painting and tracing ,then quite a lot of background work and a little bit of animation work . I loved the idea of working as an animator but at the time I think I wanted more control over style and narrative. The animations I worked on were advertisements, a children’s series and a feature film all of which were already in production.
Do you feel the graphic art classes you took in college influenced your style?
No I think we had a very good illustration tutor who worked in the industry but she didn’t have any influence on my style .I think I probably looked at artists and illustrators I admired and took influence from them but tried develop my own style.
How did you start doing advertising work?
The advertising work came later after I got an agent.
When did you do your the first illustration work for children?
The first work for children was about two years after I joined the Organisation Illustrators agent. I think it was a book cover for a children’s novel.
How did that come about?
By the time I joined the organizationI I had developed my style of painting ,after a few months I started to get more and more work in all areas of illustration. I illustrated some greetings cards which were quite popular and then Penguin books offered me a manuscript for a children’s book ,I was thrilled.
When did you decide you wanted to illustrate a children’s book?
I don’t think it was a conscious decision ,I think I was just so lucky that my style could be applied to lot’s of different areas of illustration .I always loved the idea of story telling in my animation days so illustrating a Children’s book is a bit like a very detailed story board and I had a lot more control over the style and compositions.
A CHILD”S BOOK OF GRACES was published in 2003. Was that the first book you illustrated?
No The very first book was Emma’s Doll by Brian Pattern.
Did you continue to illustrate children’s books at that time, or did you do other things and come back to doing children’s books later?
After my first Children’s book I was soon given another manuscript for a very big project, ,a” Treasury of Children’s prayers”. At the same time I worked on other commissions including packaging ,editorial work and some advertising, so I managed to work a few days a week on the book and also fit other work in at the same time, the book took about a year all together.
What was the first picture book that you did for the American market?
The first picture book for American was for Dial books (part of the penguin group) it was “A World of Wonders “ by J Patrick Lewis although Dial had bought the rights to publish “Picture This” which is how I was noticed by the editors.
Have you worked with educational publishers?
Yes I have ,it was a while ago for different reading stages.
What was your first illustrating success?
I think it was “Picture this” published in 1999,It won the” Transworld Childre’s Book Award” and was nominated for the “ Kate Greenaway” award.
I see you have done many board books. How many have you illustrated.?
I am not sure it must be about 15.
Do you think board books represent a large opportunity for illustrators?
The board books I have illustrated have been produced after the full size hard back books have been published ,they have been re formatted by the publisher . I have never set out to illustrate specifically for a board book.
How many picture books have you illustrated?
I think about 30 but there maybe more as sometimes publishers re use illustrations to produce more books as with the touch and feel books.
Is your new book, OUT OF THE BLUE, coming out in June, the first book you have written and illustrated?
I illustrated a book a few years ago called” Welcome to the Zoo” a wordless picture book ,which although the publishers asked for a book about a zoo they allowed me to weave little narratives into the illustrations. I had been doing that for previous books and now I always try to put in little sequences .“Out of the Blue” came about by the publisher suggesting a beach combing book and I though up the narrative ,again it is a wordless picture book with a main loose story and other little narratives happening in the backgrounds. I hope to write and illustrate a book (with words) one day but need a lot of practice on my writing skills.
Have you done any illustrating for children’s magazines?
Yes I have had quite a few commissions from ‘Club house Junior” and “Nick Junior”. I really enjoyed working on those jobs the subject matter is often fun and it is nice sometimes to work on shorter projects than a full books.
How long have you been represented by The Organisation in London?
I think it must be about 18 years.
How did you connect with them?
My sister who is also an illustrator joined the Organisation a few years earlier than me and she suggested I meet them for advice .I was amazed when they said they would like to represent me too.
What types of things did you do to find illustration work before you had an artist rep.?
When I first started trying to get illustration work it was just before the days of e mail so I had to phone art directors at magazines ,design companies and advertising agents and try and make appointment for them to see my portfolio. My partner worked in a graphic design studio so he gave me a few contacts but it was hard work just getting appointments.
What is your favorite medium to use?
I use alkyd paint which is a fast drying oil paint.
Has that changed over time?
When I was a student I used a lot of coloured ink and made three dimensional model illustrations which I painted with gouache it was a time of experimenting, I tend to use the same type of paint now but I would like to try water colour one day.
Did you study painting or did painting just come naturally to you?
I have always painted ,I think I just worked out a way of painting that suited me,. I know my sister and her husband paint in different ways ,I don’t think there is a right or a wrong way ,it is a personal thing I guess.
How long ago did you come up with the crackle look technique and what made you think of trying that out?
I first used the crackle varnish about the time I joined the Organisation. My cousin used crackle varnish on some decoupage trays and products she made , she also worked as an interior designer and used the varnish for paint effects on walls. I always loved old paintings I think they have a mysterious quality so I tried the varnish to give my work an aged look.
Do you have a studio in your house?
I use a small bedroom in my house as a studio ,I am rather a messy worker so it is usually a bit chaotic.
What is the one thing in your studio that you could not live without?
I think apart from the obvious paints ,brushes and paper it is my light box. I work on rough drawings at a very small scale,it seems to helps my see the composition early and quickly, I then enlarge them to slightly larger than print size on a photocopier and faintly trace off the drawing onto thick cartridge paper ready to paint.
Do you try to spend a specific amount of time working on your craft?
Not really I have been working constantly for a long time on commissioned work but I think my work has changed naturally over the years,. When I look back at my very first books they look very crude to me now.
Do you take pictures or do any types of research before you start a project?
Yes I sometimes take pictures ,when I started working on “Alice in Wonderland “ I took photos of different houses and buildings that I used as the white rabbits house and the little hut in the croquet court . It is also nice to let my imagination go and make up landscapes etc,I had fun doing that in “ The Cloud Spinner.”
Do you think the Internet has opened doors for you?
I think it must have done ,I have never got around to setting up my own web site but it is on my to do list I would love to sell pictures , prints , cards etc and that would be a great way to do it.
Do you use Photoshop with your illustrations?
No I am so old fashioned I work with paint on paper so if I make a mistake I either stick paper over the area or start again.
Do you own or have you used a Graphic Drawing Tablet in your illustrating?
I bought a graphic pen and drawing tablet recently but haven’t got around to installing it yet ,I’m ashamed to say it is still in the box.
It looks like GIFT FOR MAMA that came out at the end of March is getting good reviews. Was that the first book that you did with Barefoot Books?
The book, A Gift For MAMA was commissioned by Gullane Children’s Books and bought I think by Knopf Doubleday. I also illustrated, “ The Cloud Spinner “ for the same publisher so it was the second book with them. I think they have sadly been a victim of the recession so those are the only two books I will have illustrated for them.
Do you have any career dreams that you want to fulfill?
I have been so lucky with my career sometime things happen that I could never have dreamed of. Recently I have been asked to exhibit some of my illustrations from “The Nutcracker “ in the Ghibil museum ,Tokyo Japan by the amazing Hayao Miyazki the director of the wonderful ‘Spirited Away’ and The Wind Rises. I am being flown over to Japan for the opening of the exhibition and spending a couple of days touring the animation studios and the museum. I can’t believe my luck.
Apart from that I would just like to carry on illustrating and as I mentioned earlier write and illustrate a children’s book.
What are you working on now?
At the moment I am working on a nativity book for Lion Children’s books ,I am really enjoying painting the illustrations as they wanted a medieval slant as apposed to a biblical look, I have always loved early renaissance paintings, medieval art and the work of Bruegel and Hieronymus Bosch so I have been looking at their work for inspiration.
Do you have any material type tips you can share with us? Example: Paint or paper that you love – the best place to buy – a new product that you’ve tried – A how to tip, etc.
No not really, I think it is best to try lots of different mediums and decide which one suites you best.
A lot of people use computers nowadays with amazing results, but I think I will stick to paint for now.
Any words of wisdom on how to become a successful writer or illustrator?
I can’t really advise about writing as I am still struggling with that part myself but I think it is important to illustrate whatever you love or feel passionate about as it will always show .
Thank you Alison for sharing your illustrations, journey, and process with us this week. We look forward to following your career, so please let us know about your new books and all of your future successes.
You can see more of Alison’s work at :
The Organisation
42 Delavan St New York, NY, 11231
Thank you so much for sharing. Your work is so inspiring and beautiful!
Evi said, on 5/17/2014 7:58:00 AM
It is wonderful to see you on Kathy’s blog, Alison. I have loved and admired your work for years.
Wendy Greenley said, on 5/17/2014 8:39:00 AM
Alison’s work looks painstakingly beautiful. The crackle varnish lends a lovely patina.
Kaye Baillie said, on 5/17/2014 2:37:00 PM
Thank you Kathy for bringing us this fabulous interview with Alison. Your work Alison is delightful and thank you for sharing so many illustrations that I loved seeing. You have a unique style and I love the 12 days of Christmas in particular.
Book: A Git for Mama Author: Linda Ravin Lodding
Illustrator: Alison Jay
Pages: 32
Age Range: 4 to 8
When A Gift for Mama arrived, my daughter took one look at the cover and said: "We have another book about that boy." She wasn't strictly correct, but she did recognize that the boy on the cover of this book looks a lot like the boy from The Cloud Spinner, by Michael Catchpool. Both books are illustrated by Alison Jay, and she has a very distinctive illustration style. This works well, because of the tone of the two stories is similar.
In A Gift for Mama, a young boy in old-time Vienna buys a gorgeous yellow rose as a gift for his mother's birthday. Oskar thinks that the flower is "the perfect present" until an artist offers to trade a paint brush for the flower. Oskar decides that if he paints a picture for his Mama, that will be "the perfect present." But then a conductor needs the paintbrush as a temporary baton, and offers Oskar something else in return. And so on. Oskar's mood fluctuates as these trade keep occurring, some without his consent at all, but his innate optimism keeps him thinking that each thing is "the perfect present."
An author's note at the end of the book gives brief historical context to the Viennese figures that Oskar has encountered, including the Empress Sisi and the artist Gustav Klimt. Understanding who these figures are transforms Oskar's story into a tour of Vienna in 1894. This information isn't really necessary to appreciate the book, but it does add another layer.
In truth, my almost four year old was a bit baffled by this book, asking "Why does everyone keep taking the boy's things?". But this didn't stop her from wanting to read it again. Oskar is an appealing character, with his up and down moods, and his clear love for his mother. There's a scene in which Oskar experiences a particular disappointment, and my daughter could absolutely relate to his hunched posture (exactly the same way she hunches over sometimes when things don't go her way).
Lodding's text is full of exclamations and drama, and uses relatively advanced vocabulary. Like this:
"With a tug on the reins, the carriage lurched to a roll.
"Mama's book!" cried Oskar. "It's ruined."
But as Oskar looked up, there was the Empress herself!
She held out a box. "Candied violets," she said kindly. "To say sorry for your book.""
Oskar bower. "Thank you Your Highness!"
The dainty, delicious sweets were the perfect gift for Mama!"
Here Oskar's words as he declares the book ruined, as well as "the perfect gift for Mama" are in slightly larger text, encouraging the adult reader to emphasize those sections. I like books that give cues like this for read-aloud.
But what I love are Jay's sepia-toned illustrations. They have faint jigsaw lines across each image, like one would see on a very old painting. The people are a bit rounded, wide in their waists, and the use of perspective emphasizes Oskar's powerlessness as the large (and famous) adults manipulate him.
A Gift for Mama is going on our "keep" shelf. Next to The Cloud Spinner, of course. The conbination of story and pictures leaves readers with a warm feeling. And the fact that there is a bit of historical knowledge hidden in the book adds a special bonus. Recommended for ages four and up for home or library use.
Publisher: Knopf Books for Young Readers (@RandomHouseKids)
Publication Date: March 25, 2014
Source of Book: Review copy from the publisher
FTC Required Disclosure:
This site is an Amazon affiliate, and purchases made through Amazon links (including linked book covers) may result in my receiving a small commission (at no additional cost to you).
The Cloud Spinner is, as it’s title suggests, about a boy who makes fine clothes spun from clouds “just as his mother had taught him.” When the greedy King learns of the boy’s talents he demands many outfits be made. Using repetitive and cautionary words, the boy explains over-and-over: “It would not be wise … Your Majesty does not need them.” The clouds eventually disappear and action must be taken. Alison Jay’s signature paintings with the crackle varnish lend themselves well to this clever and fantastical, “green” fairy tale told by Michael Catchpool—the crackling provides an aged feeling of wisdom, while her bright pallet and fanciful placement of animals add a level of freshness that draws young readers in easily. When it comes to delivering a message of conserving resources for our future, a story driven by a child protagonist is the perfect antidote—as gentle as a floating cloud overhead, Catchpool’s tale gives power to the young people!
Ages 5-8 | Publisher: Alfred A. Knopf Books for Young Readers | March 13, 2012
Reminiscent of Shel Silvertein’s The Giving Tree and Virginia Lee Burton’s The Little House, McPhail renders his own little slice of thoughtfulness with The Family Tree. This poignant story about a young boy, who takes a stand to protect one tree from the perils of a new highway ready to be built, reminds all of us that our trees have been here for a very long time, they have seen many things, and they need our protection. The text is direct and the illustrations, which were created using watercolor and ink on illustration board, are sophisticated—both offer the last word in urbanity … a quality fit for this environmental tale.
Ages 4-8 | Publisher: Henry Holt for Young Readers | March 27, 2012
This is a concept book about the color green in representation of all creation, by Laura Vaccaro Seeger (First the Egg—a Caldecott Honor Book and a Geisel Honor Book; One Boy—a Geisel Honor Book; and Dog and Bear: Two Friends, Three Stories—winner of the Boston Globe-Horn Book award). The simple rhyming text begs to be read aloud and invites young listeners to sit and ponder or participate through conversation. Every brush stroke and slap of acrylic paint provides purposeful texture and definition to this wonderfu
You love to give books as gifts, but you want to give a book that will be cherished and kept to be shared with future generations. Right? What you’re looking for is a classic. Something well-written, tried and tested, but perhaps with updated illustrations that will tantalize any young mind. Feast your eyes on the following delights …
Snow White: A Tale from the Brothers Grimm
by Jacob and Wilhelm Grimm (Author), Charles Santore (Illustrator)
Reading level: Ages 6-9
Hardcover: 48 pages
Publisher: Sterling (October 5, 2010)
Source: Publisher
Complete with a beautifully patterned ribbon marker, this is a nice retelling of the Grimm Brothers’ fairy tale, Snow White, illustrated by award-winning artist Charles Santore. Santore has also illustrated an Aesop’s Fables, The Wizard of Oz and The Little Mermaid.
This is not the ultimate collection of Aesop’s Fables, however, it is a cleanly illustrated compendium carefully selected by the uber-award-winning artist Lisbeth Zwerger.
Last week we were on holiday! We had a fantastic time, saw many wonderful things, caught up with some great friends and all in all just got a buzz from life
We spent one entire day at the zoo being thrilled, amazed and occasionally disgusted by the various creatures we saw. M went crazy over the Komodo Dragon, whilst J fell in love with the fish and bugs.
Welcome to the Zoo tells a myriad of stories about events which take place one day at a zoo. There’s the boy who loses his balloon, the ostrich who escapes from his keeper, the monkey who steals a picnic, the poodle who causes havoc in his determination to chase after a woman’s hat blown off by the wind, and more…
These stories are told entirely without words but simply through observing all the tiny, funny and beautiful detail in Jay’s rich illustrations. The book opens with a map of the zoo, and ends with some suggestions of animals or details to look for, but otherwise the stories are waiting there for you to construct yourself.
This is what I both enjoy and (if I’m honest) sometimes feel less enthusiastic about with wordless picture books – if I’m tired I’m happier with a text to follow, but if I (or the girls) have more energy, wordless picture books can be exhilarating in a way that books with a (more or less) “set text” sometimes can’t. The inferences M makes to tie a (wordless) story together are often surprising, giving me wonderful insights into her view of the world.
The London Zoo?! We lived two minutes from it and went there at least once every week. I remember when the Komodo dragons were first brought – my older child was about 5 then and was very excited and we’d read up all we could about them.
Nice list of songs – will check out the ones I hadn’t heard (of) before – thanks! As usual, awesome activities
And have you seen the Anthony Browne book called Gorilla? I find all his books interestingly different from the usual and this one is so too.
Zoe @ Playing by the book said, on 5/30/2010 1:09:00 PM
Hi Choxbox! How lucky for you to be regular visitors at the zoo… We were there the whole day and still didn’t see everything we wanted to. Yes, I know the Anthony Brown book. I love what he’s using his laureateship to say (about the importance for everyone of picture books) but I’ve never fallen in love with his work. I certainly appreciate it, but he’s not an author/illustrator I find myself telling others they have to track down. What do you think of him?
ChoxBox said, on 5/30/2010 2:06:00 PM
Hmm. His work does border on the weird at times but I somehow like it perhaps because it is different from most children’s books. ‘My Dad’ is a hit with my kids. Am not sure if the little one will appreciate ‘Zoo’, the older will certainly find it interesting, whether she’ll fall in love with it I’m not sure!
And yes, many many afternoons were spent in the zoo as we had annual passes – often blogged about it in my old blog. You are right, one simply cannot cover it in one trip. Did you see the new clock outside the Blackburn Pavillion?!
'Oooh it must be lovely to be a children's illustrator'...yes, it certainly beats mowing graveyards, washing up, cleaning, selling pine furniture and stacking supermarket shelves, all of which I have done in my time until fairly recently. These jobs all have one thing in common - a regular (if not gargantuan) wage. But next time you pick up a picture book, ponder this: for every pretty picture there will have been hours, days or even weeks of brainstorming, rough sketching, too-ing and fro-ing between artist/art director and maybe others, not to mention the final art work. There is the design, the text setting, the layout, the choice of paper/book size, the printing and colour proofing; it often takes about 14 months or so for a book to come to the shelf, and that is on a good day - sometimes it can take years. But not in my case.
It has to be art worked by the second week in July. So, a last minute request from my lovely publishers, to thrash out the first half of the project meant that I found my self travelling (via motorbike and train) to the outskirts of London, and a meeting with my Art Director. If you had to have classes in 'How to be a Brilliant Art Director', she would be the model example. We've known each other for quite a while now, and the first hour or so was spent yakkering about juicy news, all of which made me practically faint with excitement and none of which must pass my lips until it is in the public domain. With the yakkering came a shower of hardback picture books; many of my favourite illustrators work with Templar, including Alison Jay, who creates some of the most gorgeous images, using lush, rich colours; I can lose myself in her work...
Soon I had a comforting stack of bookish treasure to take home, including a limited edition of 'Varmints' signed (SIGNED!!!!) by the wonderful author/illustrator Helen Ward (article link) and Marc Craste.
You know the to-die-for Lloyds Bank adverts? That's him. Stunning work. Invent a new word for it, stunning is not enough.
If you like Shaun Tan's work, you will love this - buy it. Just buy it. It is marvellous.
Templar Publishinghave relocated from a lovely converted Mill to an equally delightful old Granary, so there was a tour of the new premises and I was introduced to the members of the production team for my small contribution to their new list - the production room being very large and a quiet bustle of designers and creatives working away on numerous titles. Up to the top level, where the art directors roost - and finding a few familiar faces last seen in the wee hours of the morning round a camp fire at the brilliant Templar party, two years ago. Having said that my AD is marvellous, it should be added that Templar, as a company, not only produce some of the finest, most innovative books in the UK, but are a shining light in what can be a pretty cut-throat business. Publishers - especially the very big ones, who are more like corporations - sadly do not always treat their freelancers as well as they could do. There are horror stories...but Templar are wonderfully friendly, inclusive, respectful and all round Good Eggs.
Back down to the senior AD's office, (another familiar face) and more heart-palpitating inside knowledge about future publications (I have now stitched my lips together, so don't even ask!) and finally back to the board room and a highly intense, enjoyable three hour session spent working out the details of the new book. We were so absorbed we lost track of time, and thinking it must be about midday and time for lunch, we were startled to find it was nearly two...
Lunch was an informal but delicious affair at Pizza Express, courtesy of Templar and there was more - much more - chattering. About two hours later we sleepily emerged, full of garlicky carbs, and strolled back through Dorking Center, past the old church with its albino squirrel, to collect my large pile of work-to-do and of course, my books.
The final cherry on what had been a monumental gateaux cake of a day was bumping into one of my all time favourite illustrators - and his agent - Simon Bartram. We shook hands and I went all quiet and shy and went a bit pink; as you do when you meet one of your heroes. (Earlier I had also had the privilege of seeing some of his original artwork for his next book, which was breathtaking).
More Alison Jay: baby board books in a box - absolutely delightful!
I managed to get my precious books all packed and waterproofed (another British summer and therefore a seasonally rainy day). I made the trek back home, finally arriving, after two crowded trains and a bus, in Witney at 8pm (having left home at 6.15 that morning) and was whisked back via motorbike through wet, green country lanes, home. Wonderful home.
Through my little visit, I snagged another toy order; I'm trying to get the needle felting done at night after I've spent a good stint in the studio and I am going to be somewhat absorbed until mid-summer. But yes, on the whole, it IS lovely being a children's illustrator. Toymaker. Card company. Gardener. Head Cake-Maker. Housewife.
"Home! That was what they meant, those caressing appeals, those soft touches wafted through the air, those invisible little hands pulling and tugging, all one way...shabby indeed, and small and poorly furnished, and yet his, the home he had made for himself, the home he had been so happy to get back to after his day's work..."
excerpt, 'Dolce Domum' , Wind in the Willows
33 Comments on The High Life, last added: 6/26/2008
Gretel, how fantastic. Sounds like a pretty perfect day to me, albeit a very tiring one. I can't wait to hear more but won't ask.Keeping lips closed is hard sometimes, isn't it?
What a fantastic post! I'm so drawn to children's illustrations. I think I enjoy the books more than my four year old. I love Library Day so I can help him pick out all the lovelies to read at bedtime.
Good luck on your endeavors!
Oh, and that squirrel is shocking - even a tad creepy, yet cute!
WOW that is a pretty cool story Gretel! Just had a read of it over a tuna baguette while my email kept flashing with amendments on all the work i sent of for approval this morning...*Sigh* Back to it.
There are times that the whole children's illustrator thing becomes entirely worthwhile, yes? What an amazing stash of delicious art goodness! Lucky, lucky girl. Toymaker. Card company. Gardener, et al...!
Keep writing things down in your book of wild dreams and desires, and can't wait for more details!
Great to hear you've had such a good time, and that you are enjoying the life of an illustrator again. Sounds like you had a marvelous trip to Dorking. Hope the book goes well. I am so pleased for you G! P.xx
What a wonderful post Gretel. And a good reminder of how great it is to be a children's book illustrator, despite all the less enjoyable 'stuff' that may happen during the creating of a book. It is good to hear you sounding so positive and excited about illustrating again, though you wear your other hats very well too. :o)
Blimey, how brilliant! I'm so pleased to hear that your wonderful work is getting to be in more and more books... and what a lovely post about some lovely things:) We do like a lot of same things.. Alison Jay's book box is great.. and so's Robert Ingpen :) So excited about your button-lipped project :) Bravo! Hugs x Rima
I have some internet shopping to do after reading your post! Is it too decadent for a 40-something year-old to be buying children's books for herself when she has no children?
Thank you so much for sharing this day with us - it does sound so glamorous to me, stuck here in a dry, boring office. But we're seeing the process hopefully near the end (where you become violently rich and famous) and not the beginning where you do anything and everything to be able to keep painting.
I am looking into that edition of the Wind in the Willows - we have one illustrated by EH Shephard, but you can never have too many copies of that book:)
Can't wait to see what's coming out or your workshop next. By the way, LOVE Sleepy Sam. When I get out of the $$ hole I'm in now, expect an order from NJ:)
What a lovely day for a book lover. Thanks for sharing your lovely pictures, including the remarkable albino squirrel. I've always loved well-illustrated kids books, and you managed to save the best for last: my fave: Wind in the Willows.
Gretel, what a wonderful name. Thank you for stopping by my blog and replying. When I was an art director, I used to get similar remarks about my profession. Yes. I guess compared to accounting or some such thing, we've had very interesting jobs. Although it is work, and not all play and most people do not understand the processes and time involved.
I aspire to be all those things ... but I can't draw so maybe the illustrator title will be dropped ... but I'm fully chasing the other titles ... sigh. I love that you love what you do - it shines through your work so much x
Sounds like you had a wonderful day. I would have just been so excited too! Such treasures. Children's books are my passion. The illustrations are definitely the deciding factor on rating it's worth. That is why your work is so cherished...
You do have a lovely life. No one gets everything that they want but that day had a fair share of just about everything you could dream of! Good luck with your work. I look forward to seeing the results! Wish I was you! Jen
How exciting. I do envy you clever arty people. To be able to put pen or pencil to paper and actually produce something that resembles what your aiming for is to me a minor miracle. A thoroughly enjoyable post!
Thanks for the wonderful feast of illustrations. It sounds like a brilliant day. I can definitely see parallels between your favourite book and your life and I love the quote - it sums up what home is all about and why it is so nice to return there after an adventurous and exciting day!
I just had a peek at your studio, and see that you are working, working, working. I left quickly, didn't want to be rudely looking over your shoulder!
Your visit to the publishers was wonderfully told ... a sort of story book in itself, and the photos are superb. I am not familiar with these books or their creators (old single woman with no children) but am going to recommend them to my lovely little library.
Did I ever mention to you that I once harbored the notion of illustrating children's books? Put together a portfolio, nothing came of it. Wrote and illustrated my own little book and sent it around, got "nice" comments, but nothing came of it. Retreated to other forms of employment, but am so, so impressed with what you create. Continued success to you!
What a truly lovely day. I am so happy for you and always look forward to visiting here and seeing the amazing things you create with your hands and heart. Hooray!
Such a delightful post, Gretel! It was wonderful getting to peek into your illustrator world. I've often wondered what meetings with publishers are like. And your parcel of treasures you brought home is just wonderful! I'm so envious.
I didn't know the work of Alison Jay. I'm going to read the article about her now. Her work has the same 'other wordliness' that yours has. Similar colours too? Beautiful. I LOVE those Lloyds adverts - my daughter sings along with the music and has me in stiches every time! (It's the face she makes!)The animation is truly gorgeous. What a lovely post. :o)
What an amazing day you had ... full of beautiful books, news and interesting people. It was good to read about this day - and to know what it is like to be a book illustrator. I had no idea it was such intensive work ... now I do and I admire and respect you. I was also happy to find out that cold lager works in easing illustrator's hand.
Memorial Day Weekend brought a trip to the Finger Lakes to visit family on Canandaigua and Keuka Lakes, both lovely and swimming with activity (and both warmer than Lake Champlain, I might add!). Weekend highlights include:
Shopping with Mom and Sis in a belated Mother's Day celebration.
Eating an ice cream cone every day.
Catching three fish.
Joyfully watching J and E play with rowdy, fun cousins.
Laughing at husband and brother-in-law wearing wet suits to help install dock (no pictures...even though they were entertaining).
Visiting the grave site of one of my main characters in SPITFIRE...
My historical novel SPITFIRE has two main characters - a fictional 12-year-old girl who disguises herself as a boy to fight in a Revolutionary War naval battle on Lake Champlain, and a real 12-year-old boy who was a documented crew member on board one of the vessels in the Battle of Valcour Island. His name is Pascal de Angelis, and after that battle, he went on to do some privateering as the Revolution continued, spent some time in a British prison, and ultimately, settled down to found a village in Oneida County, NY. That village, Holland Patent, is along Route 365 -- one of the roads that leads from my house on Lake Champlain to our parents' homes in the Finger Lakes.
On Saturday, we stopped in Holland Patent to visit Pascal, who is buried in a cemetery not far from his old house. It's the first time I've been there since I spent a day at the Holland Patent Free Library, researching his life as I prepared to write SPITFIRE more than five years ago. It's also the first time my family has been with me to "meet" Pascal. It was like introducing them to an old friend.
Today, Holland Patent is a pretty community with tree-lined streets and friendly people who are passionate about remembering their past. The village green showcases a memorial to veterans, dating all the way back to the American Revolution.
P.C.J. is our Pascal. (The CJ stands for Charles Joseph. His son shared the same name.)
If you keep driving along Route 365 through town, you come to the house where Pascal de Angelis lived when the village first began. It's easy for me to imagine the spirited young boy from SPITFIRE growing old here with his wife Elizabeth and their children.
Not far from the house is the cemetery where Pascal and his family are buried. It is truly a lovely resting place, full of tall old trees and creeping vines, and Pascal is surrounded by family and early villagers in this place that he made his home.
This cemetery is beautifully tended, but somehow the flag that marks the graves of veterans had fallen down and blown from Pascal's grave. I'm not family, but I feel like I know him well enough that it bothered me, so I made sure it was back in the ground, secure, before we left.
It may sound silly, but I told him abou
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A hopeful tale of friendship and flower power, Alison Jay‘s wonderful wordless picture book Bee & Me opens with a young girl startled by a buzzing bee. 
Alison Jay was born in Hertfordshire, grew up in Derbyshire and studied graphic design in London where she now lives. After graduating she worked in animation for a short while but gradually started to get commissions in illustration.
Oskar thinks that the flower is "the perfect present" until an artist offers to trade a paint brush for the flower. Oskar decides that if he paints a picture for his Mama, that will be "the perfect present." But then a conductor needs the paintbrush as a temporary baton, and offers Oskar something else in return. And so on. Oskar's mood fluctuates as these trade keep occurring, some without his consent at all, but his innate optimism keeps him thinking that each thing is "the perfect present." 
Zoe, this is a fabulous idea! Thank you for helping the bees