Two new books illustrated by the wonderful Emma Chichester Clark, and if that’s not good enough there are two videos in which she talks about them. We even get to see Plum!
Hodder Children’s Books is thrilled to announce the acquisition of a new range of titles by award-winning graphic artist Paul Thurlby. Publishing begins in October 2014, with a hardback picture book, Numbers – a cleverly constructed and stylish numbers book for all ages!
Thurlby is the 2013 winner of the prominent Bologna Opera Ragazzi Prima Award.
The deal was brokered by Emma Layfield, Hodder Children’s Books Picture Book Publisher.
Emma Layfield: "Paul is an absolute genius and it is a real privilege to work with him. His artwork is magnificently stylish, highly collectible, and utterly unique. He champions creativity across the art and design world. We can’t wait to publish Numbers far and wide!"
Paul Thurlby: "I was excited to get the opportunity to work on new books with Hodder and, in particular, see Numbers published. I’m very much enjoying working with them and looking forward to having my books reach a wider audience in the coming years."
Nirmal Sandhu, Head of Rights at Hachette Children’s Books: "We are delighted that someone of Paul Thurlby’s calibre has chosen Hodder Children’s Books – his beautiful work is just right for the international market and I’m eagerly anticipating our first deals."
Very disappointed to have missed last night’s the preview party (aboard the Golden Hinde) for this jointly created book by Philip Reeve and Sarah McIntyre, out in September.
Highly recommended John Burningham feature in the Telegraph
If you tell people you do children’s books, they say, ‘What fun!’ There’s no fun attached to it at all, it’s a bloody nightmare. I find it very difficult. When I get an adult project, I rejoice. They’re easier than children’s books because you don’t have this immense simplification that you need when communicating with children. It’s not just balloons and clowns and parties and ‘bad’ drawing: it’s terribly important what children have to read, particularly now when everybody’s staring at screens. I fear for this generation. I know there are tremendous benefits we get from technology, but just staring into a screen worries me somewhat. It has to be cool to read a book.
Extracted from a rather good profile of Peter Sis:
Sis admits that his approach to storytelling — described by some as “cerebral” — has been a strength as well as a deficit, especially in the face of editors who weren’t sure that his sensibility was right for kids. He came over originally as an animator, and found this reaction to be a continuity between the two fields.
“I started to shop my own ideas, and very often I would be told that it’s too cerebral and it’s not American and lots of people told me to go back to Belgium,” he said. “Then the same thing started to happen in the books. They said your ideas are way too serious, too cerebral.”
The un-American quality of Sis’ work became a reason for some editors to attempt micro-managing, to the point where they were directing him to draw bigger eyes on faces, so his characters didn’t look as foreign. Eventually, Sis was able to adapt ordinary American aspects to his stories in a more natural way.
Sis adds at the end of this piece:
“All those houses that I used to know 25 years ago, now it’s down to three big corporations, which are merging and merging. It used to be seven different publishing houses, which had their own identity. In that sense it’s very difficult. Illustrators will be dealing with basically three art directors, who will have to decide if this fits the mainstream market.
“Maybe it’s because I’ve been around the block too long. Could be that when we get older, we get more skeptical. Maybe there will be some other new ways how to do it, but I don’t know at the moment. I’m in this situation where I feel a lot like Maurice Sendak, that there is no publishing left, there are only three editors.”