Wolf Erlbruch is the 2017 Astrid Lindgren Memorial Award laureate
Wolf Erlbruch, born in 1948, is a German illustrator and picturebook author. He has written some ten books of his own and illustrated nearly fifty titles by other authors. He is best known for his illustrations of The Story of the Little Mole Who Knew It Was None of His Business (1994), which became a great success around the world.
The citation of the jury reads:
Wolf Erlbruch makes existential questions accessible and manageable for readers of all ages. With humour and warmth deeply rooted in humanist ideals, his work presents the universe on our scale. He is a master of the illustrator’s art who honours tradition whilst opening new creative doors. Wolf Erlbruch is a careful and caring visionary.
Wolf Erlbruch is an innovative illustrator. His visual style grows out of a long tradition and is characterized by strong lines and graphic precision. He often combines different techniques: collage, pencil and chalk drawing, graphic experimentation and watercolour.
“Most important in drawing or writing for children is to be honest about your own feelings and tell about yourself also.”
Five aspiring children’s book illustrators are to benefit from a Scottish-based scheme to boost their careers.
Founded by the leading Edinburgh-based writer Vivian French, the Picture Hooks scheme, which is backed by Creative Scotland, will see the illustrators work with experienced artists for a year, and their work displayed at an exhibition at the Scottish National Gallery of Modern Art for three months.
World Book Day (WBD) is teaming up with National Book Tokens to launch a children’s illustration competition.
To enter the Oodles of Doodles competition, which launches Monday 9th January, children and teenagers are being asked to design a new National Book Token to mark this year being the 20th anniversary of WBD.
A winner from each of the three age categories – 8-years-old and under, 9-12 and 13-16 years – will win £200 worth of National Book Tokens for themselves, as well as £200 for their teacher and £500 for their school, and one overall winner will have their design turned into a book token.
The competition deadline is midonight 14th April.
Entries should be sent to World Book Day Design a Book Token Competition, Book Tokens Ltd, 6 Bell Yard, London WC2A 2JR. =
via WBD launches children’s illustration competition | The Bookseller.
Philip Reeve and Sarah McIntyre celebrated the launch of their fourth collaboration Jinks and O’Hare Funfair Repair (Oxford University Press, £8.99) in London’s Southbank on Friday 16th September and announced the first #PicturesMeanBusiness Talk Show to be held at the Imagine Children’s Festival in February 2017.
Jinks and O’Hare Funfair Repair is set on Funfair Moon amongst the dodgems, the Space Twizzler and the Switchback of Doom.
The first #PicturesMeanBusiness Talk Show will be curated and hosted by Sarah McIntyre for an audience of children age 8+, inviting illustrators onto the sofa for an event of collaborative live drawing and interviews. At an age when many readers start to move away from pictures in books, McIntyre and guests will demonstrate why pictures and visual literacy remain relevant and important for all ages and all readers, including reluctant and dyslexic readers.
Reeve and McIntyre’s books have become synonymous with celebrating the ways in which words and pictures both complement and elevate each other. As co-authors Philip and Sarah work collaboratively on all aspects of their books, placing words and pictures on equal footing, a concept central to Sarah McIntyre’s #Pictures Mean Business campaign.
opening 23rd Sep:
Edward Ardizzone is one of the most significant illustrators of the 20th century, whose wide-ranging output spanned children’s books, literary classics, war illustration and much more.
Ardizzone’s lively line-and-wash drawings were based on constant observation of the world, disciplined by classical figure composition. He is best-known for his illustrated children’s books, in particular the ‘Little Tim’ series which he wrote and illustrated, starting in 1936 with Little Tim and the Brave Sea Captain, all of which are still in print today.
This will be the first major exhibition of Ardizzone’s work in 40 years. From his relatively unknown early commissions to rarely seen original illustrations, the exhibition will feature over 100 pieces from public and private collections that reflect the incredible diversity of Ardizzone’s career. Highlights include a Little Tim manuscript, mural artwork for a P&O ocean liner, ceramic figurines and poster designs for Lyons, as well as sketchbooks and illustrated correspondence.
The exhibition will coincide with the publication by Lund Humphries of Edward Ardizzone: Artist and Illustrator, the first full illustrated monograph of Ardizzone by celebrated art historian Alan Powers.
Ardizzone: A Retrospective is co-curated by Alan Powers and House of Illustration’s curator Olivia Ahmad.
Hugely recommended feature on Charles Keeping from The Gentle Author blog:
The illustrations of Charles Keeping (1924–1988) burned themselves into my consciousness as a child and I have loved his work ever since. A major figure in British publishing in the last century, Keeping illustrated over one hundred books (including the entire novels of Dickens) and won the Kate Greenaway and Carnegie Medals for his superlative talent.
In 1975, Keeping published ‘Cockney Ding Dong,’ in which he collected songs he remembered sung at home as a child. Illustrated with tender portraits of his extended family, the book is an unusual form of autobiography, recreating an entire cultural world through drawing and popular song.
Recently, I visited the Keeping Gallery at Shortlands in Kent to meet Vicky and Sean Keeping who talked to me about their father’s work, as we sat in the family home where they grew up and where much of his work is now preserved and displayed for visitors. You can read my interview at the end of this selection of illustrations from ‘Cockney Ding Dong.’
As part of the World of Illustration series, [The Observer] head[s] to Romania and Moldova to meet goats, princesses and cats – plus eat bread with dew
The Power of Pictures is a new literacy website from CLPE and children’s authors/illustrators which helps primary school teachers to develop their understanding of the craft of picture book creation as a way of raising children’s achievement in literacy. This site houses short films from children’s illustrators alongside a range of specially developed teaching materials and resources.
includes excellent video content such as:
Shortlisted for the inaugural Klaus Flugge Prize
The judges have selected a marvellous shortlist for the first Klaus Flugge Prize, a new award created to highlight newly published illustrators.
From a longlist of twenty picture books by debut illustrators an expert panel of judges comprising Children’s Laureate Chris Riddell; Tony Ross, the UK’s biggest selling children’s illustrator; Professor Martin Salisbury of the Cambridge School of Art; and Ferelith Hordon, editor of Books for Keeps and IBBYLink, selected a shortlist of six.
The six books are:
Too Many Toys by Heidi Deedman (Walker Books)
With every birthday and Christmas Lulu is given more toys,until there’s barely room for her!
Intricate comic detail, an energetic style, and hand-lettering that brings classic children’s books to mind make this stand out. The judges feel Deedman has the potential to be an outstanding illustrator, and admired the personality she gives to her book.
Hector and the Hummingbird by Nicholas John Frith (Alison Green Books)
Hector the bear likes a bit of peace and quiet, but his best friend Hummingbird just can’t stop talking. What’s to do?
With its retro palette of turquoise, green and pink, playful scenes and appealing characters the judges found this to be something special, admiring in particular the way the illustrator inhabits his characters.
The Girl with the Parrot on her Head by Daisy Hirst (Walker Books)
Isabel misses Simon when he moves away, and decides the parrot on her head is all the friends she needs, until the removals van brings someone new to play with.
Original, and with a lively, bouncy feel, Hirst’s silk-screen prints and use of space caught the judges’ attention. A night-time scene with a wolf particularly impressed.
Toby and the Ice Giants by Joe Lillington (Flying Eye Books)
Toby the Bison explores the Ice Age Tundra in this fact-filled adventure and meets some of the giants that roamed the planet.
Lillington brings the creatures of the ice age to life in dramatic watercolour illustrations. The judges admired his draughtsmanship and found this to be an interesting picture book.
Lili by Wen Dee Tan (Fat Fox)
Lili is an ordinary little girl, except for her fiery hair, which makes it hard to make friends. A story of unexpected courage.
Wen Dee’s pencil and crayon style lends itself beautifully to animation and movement as demonstrated by Lili with her fiery red hair. The judges found lots to like in her sensitive, lyrical drawings.
Counting Lions by Stephen Walton, written by Katie Cotton (Frances Lincoln Children’s Books)
From one regal lion to ten zebras, these superb full-page black and white drawings give readers the chance to get close to nature’s wildest creatures.
A self-taught artist, Stephen Walton commands attention with arresting charcoal portraits of wild animals and this book stands out as different. Tony Ross expressed real admiration, remarking that: ‘I couldn’t draw like that, and I’d really like to.’
The Shortlisted Illustrators
Heidi Deedman originally studied sculpture in London, experimenting with a diverse range of materials such as found objects, ceramics and textiles. Drawing always stayed central to her work though, and she went on to complete Cambridge School of Art’s MA in Illustration and win the Sebastian Walker prize.
Nicholas John Frith is an exciting creative talent living on the south coast of England. He is inspired by vintage books and packaging from the ‘50s and ‘60s. Having travelled the world from Kuala Lumpur to Chile, Nicholas now uses his experiences to create picture books which bring those places to life for every reader.
Daisy Hirst studied English and Creative Writing at Warwick University where she composed her own poetry. Afterwards, Daisy went on to graduate from the Cambridge School of Art MA Course in Illustration. She won the Lara Jones award in the Macmillan Prize and released her second book Alphonse, That Is Not OK to Do! in 2016.
Joe Lillington was born in London and studied illustration at Falmouth University graduating in 2014. He was recently commisssioned to illustrate the cover of Stew Magazine, illustrated a short story in AMBIT magazine and has exhibited at Light Grey Art Lab as well as with the Just Us collective.
Wen Dee Tan spent ten years in the corporate IT world before quitting to return to her first love: drawing. She graduated from the Cambridge School of Art MA Course in Illustration where Lili was one of her course projects. It was longlisted for the prestigious CILIP Kate Greenaway Award. Wen Dee lives in Malaysia.
Stephen Walton is a self-taught, award-winning artist who works as Supervisor at Bury Art Museum in Manchester, UK. After studying Geography at Manchester University, his artwork developed alongside his love of taking photographs, which resulted in his very particular style and method: when he is out and about he takes photographs which he then draws from at home. His incredible charcoal artworks can take up to a month to complete. Stephen lives in Manchester, England.
Chair of the judges Julia Eccleshare said: “We asked the judges to consider technique and artistic ability, and they chose also to take into account the illustrators’ skill at characterisation. The discussion was lively and wide ranging and the final shortlist features exciting and extremely talented illustrators. The Klaus Flugge Prize is very important, the only one to recognise new illustrator talent at this crucial early stage in a career and we look forward to watching all six of the shortlisted illustrators develop.”
The winner will be revealed at an award ceremony in London on Wednesday 14th September 2016 and will receive a cheque for £5,000.
The Klaus Flugge Prize honours publisher Klaus Flugge, a supremely influential figure in picture books, who this year celebrates the 40th anniversary of his publishing house Andersen Press.
The Klaus Flugge Prize is funded by Klaus Flugge and run independently of Andersen Press. It is administered by Julia Eccleshare, children’s books editor of The Guardian, children’s director of the Hay Festival and head of Public Lending Right policy and advocacy; and by Anne Marley co-director of Authors Aloud UK and former head of Children’s, Youth & Schools Services for Hampshire Library & Information Service for many years.
Klaus Flugge was born in Hamburg in 1934, apprenticed to a bookshop and sent to Book Trade School in Leipzig. He emigrated to America at the age of 23 as an East German refugee who spoke only German and Russian. After a variety of jobs, and two years as an American GI, he was offered a job working as a Personal Assistant to Lew Schwartz, owner of Abelard-Schuman publishing in New York. After only a year and a half Schwartz suggested he go to Europe to build up the very small list they had there and came to London in 1961. He launched Andersen Press – named after Hans Christian Andersen – in the autumn of 1976.
The roll call of artists Klaus Flugge has worked with at Andersen Press reads like a textbook on illustration: David McKee, Tony Ross, Satoshi Kitamura, Michael Foreman, Susan Varley, Emma Chichester Clark, Sir Quentin Blake, Chris Riddell, Ruth Brown and David Lucas to name but a very few.
In 1999, he became the first publisher to receive the Eleanor Farjeon Award for outstanding contribution to children’s books and in 2010 he became the first and so far only publisher to be awarded Honorary Membership of the Youth Libraries Group. In 2013 Klaus was made an honorary citizen of the City of Bologna in recognition of his commitment to children’s books abroad.
Excellent feature interview with Quentin Blake…
For someone so synonymous with children’s books, Blake is unexpectedly reticent about his own childhood, claiming to remember very little. When I ask if it was happy, he shrugs. “It was all right,” he says. Interestingly, his own volume of memoirs about his life as an artist, writer and illustrator, Words and Pictures, begins when he was 16 and successfully submitted a cartoon to Punch.
Blake’s father was a civil servant — he was a clerk for the Imperial War Graves Commission in France before Quentin was born — and his mother, Blake says, was “a housewife”. She was 40 when he was born, and his brother was 11 years older, so he felt “like an only child”. He hardly recalls his brother living with them, though they got on as adults. He went to the local primary school, then Sidcup Grammar and on to Cambridge, to read English under FR Leavis. He drew from a young age, and attended life classes after he graduated (where he would look at the models and then try to draw from memory), but his art education was “cobbled together”. His parents were supportive of his art, but “had no terms of reference really”. Their ambition for him was “that I should get a job”.
His mentors were Alf Jackson, the husband of a Latin teacher at his school and a cartoonist and Modigliani-influenced fine artist who “would talk about Punch cartoons and Michelangelo”; and Brian Robb at Chelsea School of Art, who would comment on his drawings, though Blake did not attend his classes. He says he learnt to draw by looking at draughtsmen from Daumier to George Cruikshank, and contemporary cartoonists such as André François. Blake went on to teach for 23 years at the Royal College of Art, where he was head of the illustration department for eight years.
Blake draws daily — or very nearly; it doesn’t occur to him not to. Even he does not quite know how he produces his magic. “It never gets into words. You get emotion into the picture, and the people reading it can get it out of the picture.” Blake compares the business of illustration to acting. He doesn’t like to be interrupted when drawing, but on the odd occasion when he has been, observers have said he makes the faces of the characters he is drawing. As in acting, he inhabits an idea, signals it concisely and creates a response. He loves theatre, and compares the blank page to a stage.