For anyone learning how to create books for children, this study focuses on how the practice of observation can lead to better outcomes.Learn how observation can help explore exciting ideas, design better pages, create better colour palettes and write more engaging narratives. Drawing on the experiences of many well known children's author-illustrators, past and present, this study explores how observational drawing can feed into imagination.Focusing on children's book illustration, this is also an informative observational ...
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For anyone learning how to create books for children, this study focuses on how the practice of observation can lead to better outcomes.Learn how observation can help explore exciting ideas, design better pages, create better colour palettes and write more engaging narratives. Drawing on the experiences of many well known children's author-illustrators, past and present, this study explores how observational drawing can feed into imagination.Focusing on children's book illustration, this is also an informative observational foundation for picture book authors and art students. Whilst the creation of books for children might appear to be routed in the imaginary, in this study I will look at the role that observation plays throughout the creative process. Observation in the context of illustration is often taken to mean drawing from life (and I will explore the value of this), but I will also seek to explore the synthesis of observation which filters throughout the making of stories for children from first concept to the finished outcome of both words and pictures.My own interest in the role of observation developed alongside my studies on the Children's Book Illustration MA at Cambridge School of Art. I saw the process of observational drawing help in the development of my own visual language and wondered at the sometimes miraculous drawing progression of other students. I also learned a very important lesson: that for the illustrator learning to draw is not about acquiring the ability to recreate a technically accurate image (for me often resulting in bland outcomes). What we are seeking to acquire is a communication skill capable of transcending reality and transporting an audience to another world. Alongside the development of communication through drawing, the ability to create compelling narratives also improved; I am sure this is no coincidence.Joining the course and eager to make illustrations, the general feeling on reading the first assignment entitled 'Observation and Experiment' was one of slight disappointment and anticlimax, leaving us questioning what this had to do with the business of illustrating for children. Little did we know what an influence the discipline of observation would have on our future practice. These na???ve expectations were partly as a result of our familiarity with the stylised imagery of illustrators such as Paula Metcalfe, Oliver Jeffers and Lauren Childs, where visual outcomes, often far removed from real life, lead one to question the place for observation.This study explores this perceived contradiction and investigates whether observation does play a crucial role in the creative process, even in areas where its importance may not be obvious.Via the exploration of the practice of children's story makers (both authors and illustrators), I consider the role observation has to play in the creative process, relating what I discover to my own practice and personal areas of interest and experience. This valuable analysis and reflection leads to an enriched and informed approach to making books. My thanks to everyone who has contributed to this book: To all the illustrators who generously shared their experiences, insights and images: Shirley Hughes, Pam Smy, Alexis Deacon, Angela Barrett, Marta Alt???s, Ashley Crowley, David Hughes, Elena Arevalo, Daisy Hirst, Paula Metcalfe.
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