I can’t stop thinking about the line Emily left us with yesterday, this one:
They are stories coming from a place of trying to understand, rather than a place where it is understood.
Welcome back, Emily! Hope you enjoy the rest of our conversation. (And a reminder, click to enlarge any images.)
Can you tell us about the design of the art and the text? I love that your pictures don’t have text on them anywhere, and the page turn with the flower is the only time there’s text away from the bottom. What went into those decisions?
There wasn’t much decision making- that was the problem! Often times I like to work with only a bit of text because type is a whole other ball-park in terms of aesthetics. I have a hard time compromising my space for words- text and fonts and size, all that jazz has to mesh in with the artwork, and it’s hard finding the right voice to match the looks.
My work gets pretty dense, so I find it a lot more difficult to find something that is legible, but still yields to the art. In university I preferred to keep my lines simple and punchy and give a whole page of text to one image- it makes you read everything slower, more thoughtfully. However in the world of big print-run publishing, it is a luxury to use up so much paper! I work on the pacing, but the designers at Flying Eye made a lot of the technical decisions and all the book designing- I think they’ve done beautifully.
What is your favorite piece of art hanging in your home or studio?
I work at home, and my favourite art piece is this ceramic self-portrait bust my Dad made when he was a kid in school. It’s got hair that looks like it was squeezed through a garlic presser- he forgot a bit of hair on the back though, and he made his nostrils with a pencil eraser. It’s a bit creepy, bit primitive cool. Very seventies. Still trying to find the best place to display it.
What are some of your favorite picture books? Both for writing and text and whatever inspires? What is your favorite picture book from childhood?
My favourite old school book is Munro Leaf’s Ferdinand. It is a beauty in text and image- what a fantastic story about the happily peaceful bull. Didn’t want to fight, didn’t want the fame, just wanted the simple pleasures of everyday life. You come across the message of being unique quite a bit in children’s books. Oftentimes it’s a feeling of ‘you’re different’ therefore special, therefore better. I don’t get that passive aggression or hypocrisy with Ferdinand.
For modern, I love Michael Rosen/Quentin Blake’s Sad Book. It isn’t sappy or over the top, it is perfect. No melodrama or silver-linings, just honest. The book feels like it is quietly listening to it’s readers own blues. It brought me real comfort. It is really a gem.
In terms of illustration, I love everything that is Blair Lent. Dreamy.
What’s next for you?
Lots of good things in store at the moment! I have finished a bunch of projects recently, and am still catching my breath.
I just finished A Brave Bear with Walker Books, and Brilliant with Abrams, and I’m now moving on to a book series with Chronicle for easy readers called Charlie and Mouse which is written by Laurel Snyder.
Oh, and did I mention the ever lovely Everything you Need for a Treehouse by THE Carter Higgins? I am excited about it all, and slowly getting better at juggling everything- at the moment I am trying to doodle personal work (if you don’t maintain this, everything goes bad, you don’t evolve!), little brothers, and treehouses. For boys, I’ve been creeping around my high street and local parks to get inspiration, for tree houses I fondly think of the ones my neighbours and I repeatedly built unsuccessfully. Now I can build one without the necessary requirements of having lumber readily available, knowing how to saw wood, and basic physics!
Exciting, busy, new!
Thanks, Emily! It was such an honor to have you here, and I am so, so excited about our future!
Huge thanks to both Emily and Tucker Stone at Flying Eye Books for the images in this post!