The tale will be published in September, which also marks the 150th anniversary of Beatrix Potter’s birth.
Veteran illustrator Quentin Blake, 83, known for his work on Roald Dahl’s classic children’s books, will bring the characters to life for the new story.
The illustrations for the other Potter books were drawn by the author herself. He said: ‘It seemed almost incredible when, early in 2015, I was sent the manuscript of a story by Beatrix Potter, one which had lain unpublished for a hundred years and which, with the exception of a single drawing, she had never illustrated.’
When the Guardian first featured the new Christmas poem book by Carol Ann Duffy they failed to credit the illustrator Dermot Flynn, which did not escape the attention of Sarah McIntyre, well-known for her advocacy of illustrators’ rights to be fully and prominently credited for their work alongside authors. After she raised the matter the Guardian website did add an appropriate illustrator credit to this piece.
Once Artemis saved the world though, Colfer insists it was the right point to end the series.
“I got to a point where I thought, ‘I’ve really done this to death now’. I can either continue with him as a good character or finish him now. Artemis just can’t be a good guy.
“Also, I’m a grown man and I’ve been working with leprechauns for 15 years. It’s time to move on to something more mature like imaginary friends,” he says, chuckling.
Interesting panel discussion from Quill & Quire website on subject of Canadian picture books…
If you’ve noticed that Canadian children’s book authors and illustrators seem to be garnering a lot of attention lately, you’re not alone. International awards and recognition and a ton of buzz are becoming the norm for homegrown talent. It got us thinking: are we in a golden age of Canadian picture books? Q&Q asked a panel of kidlit experts, including librarians, authors, and reviewers, to weigh in.
MEET THE PANEL:
Sarah Sorensen is an historian, author, and librarian currently working at the Hamilton Public Library. She is also a frequent reviewer for Q&Q.
Judith Saltman is a professor at the School of Library, Archival & Information Studies at the University of British Columbia, where she teaches courses in children’s literature. She has written three books on Canadian kidlit and publishing.
Linda Ludke is a collections management librarian at the London Public Library who reviews children’s books for Q&Q and the National Reading Campaign.
Helen Kubiw is the blogger behind CanLit for LittleCanadians, a teacher-librarian, former chair of the Ontario Library Association’s Forest of Reading, and current YA authors’ co-ordinator for the Eden Mills Writers’ Festival.
Sarah Ellis is a Vancouver author and former librarian. She has won numerous awards, including a Governor General’s Literary Award, Vicky Metcalf Award, Sheila A. Egoff Award, TD Canadian Children’s Literature Award, and the B.C. Lieutenant Governor’s Award for Literary Excellence. Her latest children’s book is Ben Says Goodbye, illustrated by Kim La Fave (Pajama Press).
Kerry Clare is the editor of 49thShelf.com, and writes about books and reading on her personal blog, Pickle Me This. She also edited the anthology The M Word: Conversations about Motherhood (Goose Lane Editions).
Shannon Ozirny is the head of youth services at the West Vancouver Memorial Library and reviews regularly for Q&Q and The Globe and Mail. She has been a jury member for the B.C. Book Prize, and sat on committees for the Canadian Children’s Book Centre’s Best Books for Kids and the American Library Association’s Odyssey Award.
Click through for the discusssion via Kidlit spotlight: the golden age of Canadian picture books | Quill and Quire.
Having attended the launch for Katherina Manolessou’s first picture book, Zoom Zoom Zoom, it was a pleasure to be invited to the launch of T-Veg, written by Smriti Prasadam-Halls, illustrated by Katherina and published by Frances Lincoln.
Katherina’s artwork from the book is being exhibited by the gallery and is on show until 20th September.
An unexpected pleasure at this launch was an appearance by one of my favourite comedians, Sally Phillips (of Smack The Pony fame), who performed a full reading from the book, after separate talks from Rachel Williams, the publisher, and then the author and illustrator.
The launch was really well attended and after the talks a long queue formed for signing the book, which was being sold at a specially reduced price of £10 for the event.
All photographs are by me, with the exception of the final captioned picture, which is by the fabulous publicist Nicky Potter
To celebrate [Fred]Marcellino’s career, as well as the 25th anniversary of the publication of “Puss in Boots,” the Eric Carle Museum of Picture Book Art in Amherst is hosting the exhibit “A Renaissance Man: The Art of Fred Marcellino,” which runs through Oct. 25. It features over 90 of his works — from collegiate paintings and drawings, to album and book covers he designed, to the art and text of his children’s books.
Ellen Keiter, the Carle’s chief curator, said Marcellino was “really a scholar” who would spend months researching his children’s book topics, including visiting the European locales where a number of them, such as “Puss in Boots,” are set.
Marcellino was also a book jacket designer. Some of his most famous covers include Birdy by William Wharton, Bonfire of the Vanities by Tom Wolfe, The Handmaid’s Tale by Margaret Atwood, The White Hotel by D. M. Thomas, The Unbearable Lightness of Being by Milan Kundera, The Drowned and the Saved by Primo Levi, Dinner at the Homesick Restaurant and The Accidental Tourist by Ann Tyler.
From the Edge Chronicles, to Goth Girl, to Ottoline to The Sleeper and the Spindle, revel in the illustrations of Chris Riddell, who has just been crowned children’s laureate
Each year, the Bologna Children’s Book Fair hosts a highly competitive Illustrators Exhibition. More than 3,000 professional and amateur illustrators from sixty-two countries send in their art for consideration. A five-person jury consisitng of illustrators, academics, publishers, and editors, selects seventy-five to eighty artists to include in the exhibition.
I had never seen 15,000 original works on paper at once, and panicked slightly. I wasn’t the only juror to do so. But the exhibition managers, well versed in the art of dividing and conquering, had sorted the works into very helpful categories, such as the country of the submitting artist, or whether the artist was previously published or unpublished. Submissions made by art schools and publishers on behalf of their artists occupied separate areas on one side of the room.
Being one of the less than 2.5% of entrants chosen for the exhibition is not only an honor, it can change the illustrator’s life forever. Over the course of four days, 45,000 thousand people—publishers and editors, agents, authors, illustrators, students, and the public, young and old—roam the exhibition galleries, which sit in the middle of the enormous yet intimate fair. Hundreds of illustrators, some of them coming out of complete obscurity, leave the exhibition with book contracts.
The illustrator Fritz Wegner, who has died aged 90, was a prolific creator of funny, detailed and memorable drawings, and a much-loved teacher. Born in Vienna to secular Jewish parents Michael and Eti, his secure childhood was abruptly ended by the Anschluss of 1938. After drawing a cartoon of Hitler and enraging his pro-Nazi teacher, he understood the danger he was in and his parents organised his departure, alone, by train to London.
His parents and sister were able to join him later, but initially Fritz was taken in by George Mansell, one of his teachers at St Martin’s School of Art (now Central Saint Martins), and his wife. As Wegner recalled in an interview: “It was an extremely generous thing to do and indeed I lived with them for several years, learning everything I later knew about lettering, penmanship, gilding and the Roman alphabet. That was the start of an early passion, after which I moved on to doing illustrations.