Author & Illustrator Focus: Chris McKimmie

Chris McKimmie is a writer, illustrator and artist. His career has had several phases. In the 1970s he worked as a graphic designer and publications designer for the ABC, the National Parks and Wildlife Services and the University of WA Press. As well, he wrote, illustrated and designed a series of 8 children's books as well as designing many book covers. Later he moved to Queensland and established the illustration program at the Queensland College of Art, Griffith University.

He has also applied his skills, knowledge and experience to film. In the 1980s he was production designer for the award-winning short film 'Stations' (1983) and the feature-length film 'Australian Dream' (1986). He also wrote the lyrics for the songs in both films, as well as 'Madness for Two' (1982), 'Top Enders' (1987) and 'Waiting' (1990). These films were written and directed by his wife, Jackie McKimmie.

Throughout his career he has also exhibited paintings and drawings at many Australian galleries. The last ten years have been a particularly fruitful time for him with children's literature and he has written and illustrated a number of wonderful children's picture books (see the full list at the end). The picture books he has written and illustrated can be recognised immediately by their deceptively simple style. This is a style that reflects careful attention to varied techniques honed over many years working as an illustrator in varied genres. He makes his images using acrylic on MDF, ink, watercolour, gouache, pastels and any other materials that seem like a good idea. I always feel as I read his books that here is an author and illustrator who seems to have a special way of getting inside the heads of his readers to set off sparks of imaginative energy.

Chris has received a number of awards for children's books including being shortlisted by the Children's Book Council of Australia for 'Two Peas in a Pod' (2011), 'Special Kev' (2009), and 'Brian Banana Sunshine Duck Yellow' (2007).

For more on Chris McKimmie's background read the interview I conducted with him at the end of this post.

Brief reviews of some of his recent picture books

'Crikey and Cat', Christopher McKimmie (written & illustrated), Crows Nest: Allen and Unwin, 2014

Like all of Chris McKimmie's picture books 'Crikey and Cat' is aimed at inquisitive, creative and imaginative readers. It challenges them to think outside the square. Like all of his books he leaves 'space' for young readers to do their own thinking. If the stars suddenly disappeared, what would you do? With a ladder, a tape, and some late night cutting, the problem is solved! "Nice". But then, along comes the storm.... (you should read on). It is a wonderful blend of McKimmies delightful simple images, and just enough words to stimulate young and old brains. Wonderful!  Suitable for readers aged 3-6 years.

Scarlett and the Scratchy Moon', Christopher McKimmie (written & illustrated), Crows Nest: Allen and Unwin, 2013

Scarlett can’t sleep again. The moon is scratching the sky, and she’s counting sheep. Scarlett is also sad because her pet dogs, Holly and Sparky, have died. But then a surprise comes to the door and the world seems new again.

'Alex and the Watermelon Boat', Christopher McKimmie (written & illustrated), Crows Nest: Allen and Unwin, 2012

This book was inspired by his experience living through the Brisbane floods of 2011.  The flood provides the setting for a small boy's search in a 'watermelon' boat for his special stuffed rabbit. The river had burst its banks. The dam was overflowing. 'Don't go outside, Alex!' Mum shouted. But just then Rabbit hopped out the open window ...

Good Morning Mr Pancakes', Christopher McKimmie (written & illustrated), Crows Nest: Allen and Unwin, 2011

It's holiday time for Bee. But first the chooks need their toenails painted, the dogs and cats need their bags packed and Gregor needs enough greens for a week. Then Bee is off to the island.

Two Peas in a Pod', Christopher McKimmie (written & illustrated), Crows Nest: Allen and Unwin, 2010

From the inside front cover Chris McKimmie had me in. What might the four dwarves mean? I didn't think this was a book about dwarves?! No, it's about a boy and girl, like 'two peas in a pod', whatever that means. Violet calls her friend Marvin 'Marvellous' and they do everything together. Like watching the clouds to discover cotton wool castles and marshmallow kingdoms. Or catching the train in their lounge room to Toowoomba, Dimboola, Woop Woop and beyond. They live in Raven Street and you never know what they might encounter - ghosts, dwarves, woolly elephants? When Marvin leaves Violet for the plane trip home, it's always lonely. But luckily, Mum and T Rex are there waiting. I just love this book!

Special Kev Christopher', McKimmie (written & illustrated), East Melbourne: Allen and Unwin, 2008

If only my Mum had called me 'Special Kev' (funny thing is that strangers often call me 'Kevin', but that's my story). Trevor ('Special Kev') was always going to be different. He was born on April Fools Day and had different qualities to all of his "eleventy million cousins". With curly red hair and freckles he'd be noticed all right. Kevin seems to have a life with plenty of problems (like 'the thing with Nicky Bathgate) and it's never his fault. No, it was Fatty Boombah's, Nicky's, or Megan the Meanie's. Only Aunty Pav - who like Kevin is unique - seems to offer him a lifeline. This special book about a special child, has lots to say about difference, friendship and family. As with all McKimmie's books, it offers an opportunity for joyous fun with young children, but there is always a deeper point that awaits the reflective reader.

Maisie Moo and Invisible Lucy'. Christopher McKimmie (written & illustrated), Crows Nest: Allen and Unwin, 2007

The funny and tender story of Maisie who lives with her parents in the Gone Bonkers Discount Palace. She shares her troubles and joys with her invisible friend, Lucy, and misses her father who is often away driving his truck.

Brian Banana Duck Sunshine Yellow', Christopher McKimmie (written & illustrated), East Melbourne: Allen and Unwin, 2006

A wonderful, innovative, quirky picture book about a child's search for identity and the need to belong - and a glorious celebration of the colour yellow.

An Interview with Chris McKimmie

1. Most of your published profiles don’t say a lot about you. Where did you grow up? What were your early influences? Are there people who helped to shape the Chris McKimmie who writes and illustrates such interesting picture books?

I was born in Perth, Western Australia and I am the youngest in a family of five. I grew up surrounded by aunties and cousins. Every Christmas we would gather around two trestle tables at my Italian grandmothers place two doors up. She had twelve kids, including my mother. The aunties, uncles and cousins would drink, play the piano accordion and sing and watch my grandmother have her one cigarette a year on her birthday which was also Christmas day.

At school we didn't have art. We had tech drawing which I would always get smudged and crooked. I didn't like school much and was glad to get out. My last year at school was spent listening to the top 40 hit parade and plotting the course of various songs and playing along on my homemade drum kit. When I left school after just scraping through I bought a sparkling red Premier drum kit and played in bands at weddings, twenty firsts, nightclubs and the one jazz club in Perth. Then I went to Sydney where I met Jackie.

We both returned to Perth and studied there and had our first son while we were students. I studied Graphic Design with electives in painting and drawing and I finished my studies a year before Jackie and worked at the West Australian University Press as a book designer. Every pay day I would buy a children’s book for our son. This was my introduction to picture books. I realised that as long as a book had a certain honesty to it that it served a purpose one way or another and at some time or other.

When Jackie finished her studies we moved to Sydney and had our second son. I worked various jobs cleaning and then as a designer at National Parks and Wildlife and the Australian Broadcasting Commission. Then I took a year off to help raise the boys and write and illustrate some children’s books while we both worked part-time. The 8 books I wrote, designed and illustrated were published by Hicks Smith and Methuen and sold internationally. In 1976 we moved to Queensland so I could take up a job offer from the Queensland College of Art. We planned on staying a few years but have been here a bit longer than that. Up until 2001 I was the convenor of the illustration programme at the college. Since I left I have been working on stories and books and paintings for exhibitions.

2. Do you love story as much as illustrating? Do you see the words in your books as just as important as the images?

Yes. I work on both together and change them as the story develops. Sometimes getting rid of some pretty good pictures. Sometimes getting rid of some pretty good writing. I also design all my books and I see that as a valuable part of the story as well.

3. Could you tell me a little about the inspiration for ‘Crikey and Cat’?

Crikey started out as the blue book. Pretty much the first half of the book. The publishers asked me to combine it with two other books I had sent them in rough form. These books were about a red cat. I found it impossible because the story lines wouldn’t connect. I asked Jackie, my wife, who is a writer of films, plays and poetry if she could come up with anything and she solved the story line in about five minutes.

4. A number of reviewers speak of your work as ‘quirky’, and this word came to my mind as well. But it seems to me that it’s much more than this. Do you see a book like ‘Crikey and Cat’ as quirky or would you describe the book another way?

No I don’t see it as quirky. Nor do I see my other books as quirky. I just work around my limitations.

5. What is the best response you've ever had to your illustrative & creative work?

I once got an e mail from a woman who told me she was taking my book Brian Banana Duck Sunshine Yellow on holidays with her and she reads it four or five times a day and that the line ‘It’s just beautiful, Wayne’ was the best line ever written in the English language. I was pretty glad I lived in a different state.

6. Do you have other book projects on the drawing board?

I have just signed a contract for a book called Lara of Newtown about a cat that is abandoned at Christmas time then is given as a Christmas present and abandoned again.

7. Who or what has been the most significant influence on your creative work?

Pretty much everything. I read a lot of poetry. Novels, short stories and picture books. If you have read some of my books e.g. Good Morning Mr Pancakes all the grandkids have been a help as well.

Full List of Chris McKimmie's Children's Books 

'Crikey and Cat', Christopher McKimmie (written & illustrated), Crows Nest: Allen and Unwin, 2014
'Scarlett and the Scratchy Moon', Christopher McKimmie (written & illustrated), Crows Nest: Allen and Unwin, 2013
'Alex and the Watermelon Boat', Christopher McKimmie (written & illustrated), Crows Nest: Allen and Unwin, 2012

'Good Morning Mr Pancakes', Christopher McKimmie (written & illustrated), Crows Nest: Allen and Unwin, 2011
'Two Peas in a Pod', Christopher McKimmie (written & illustrated), Crows Nest: Allen and Unwin, 2010
'Special Kev Christopher', McKimmie (written & illustrated), East Melbourne: Allen and Unwin, 2008
'Maisie Moo and Invisible Lucy'. Christopher McKimmie (written & illustrated), Crows Nest: Allen and Unwin, 2007
'Brian Banana Duck Sunshine Yellow', Christopher McKimmie (written & illustrated), East Melbourne: Allen and Unwin, 2006

Earlier Works

'The Caught Bird', Christopher McKimmie (written & illustrated), Sydney: Methuen Australia, 1977
'The Shape I'm In', Christopher McKimmie (written & illustrated), Sydney: Methuen Australia, 1977
'One Rainy Day', Christopher McKimmie (written & illustrated), Sydney: Methuen Australia, 1977
 'The Magic Day', Christopher McKimmie (written & illustrated), Sydney: Methuen Australia, 1977
'Apple to Zoo', Christopher McKimmie (written & illustrated), Sydney: Hicks Smith, 1975
'The Painted Bird', Christopher McKimmie (written & illustrated), Sydney: Hicks Smith 1975 'Two Friends', Christopher McKimmie (written & illustrated), Sydney: Hicks Smith, 1975
'One Day', Christopher McKimmie (written & illustrated), Sydney: Hicks Smith, 1975

'The Adventures of Pinocchio': Ingpen illustrates Collodi's original text

Robert Ingpen

Robert Ingpen is one of Australia’s most successful illustrators and has written and/or illustrated more than 100 books. He was born in 1936 and did most of his growing up as a boy in Geelong. From an early age he was obsessed by stories and says that at times he had trouble distinguishing fantasy from reality. Now as a man in his 70s he sets a pace that few could match. He is arguably Australia's greatest children's book illustrator and is one of the best illustrators of our time anywhere in the world. You can read more about the illustrator and his work in my previous 'Author and Illustrator Focus'.

'The Adventures of Pinocchio' by Carlo Collodi, illustrated by Robert Ingpen (Walker Books)

This latest book in the Walker Illustrated Classics series is stunning! Ingpen is at the top of his craft in this work. As usual, his illustrations offer extraordinary detail. He uses a variety of media, including watercolour, pencil, and pastel. But whatever the media, the detail is always amazing and at times almost breathtaking. He brings characters to life. Each of the 36 chapters have a double page spread that offers an engaging start to each new chapter in the life of this mischievous puppet. The first double page for chapter 1 shows the carpenter Mastro Cherry in his workshop. You can 'drink' this in for ages before wanting to read on. Fantastic!

What is also wonderful about this volume is the fact that it is based on the original text of Pinocchio published first in 1883 from a collection of separate chapters that appeared previously in an Italian newspaper for children. This is not the Disney form of the story. This is a more 'gritty' tale that will surprise you in places. The original Collodi version portrays a strange topsy-turvy world that hints at Tuscany and where sinister things happen. The young Pinocchio lurches from one problem to another, just surviving on many occasions. In fact, Collodi meant for him to die after chapter 15, but his readers were so outraged that he was forced to continue the story for another 21 chapters and give it a more satisfactory ending for the wooden puppet that becomes a boy.

As with all of the books in this series, the book design is stunning. All have hard covers, think paper and coloured pages throughout in varied soft tones. These are handsome, 'rich' collectors' editions that make you want to read the stories.

Illustrated Classics Series

Walker Books engaged Robert Ingpen to illustrate a series of unabridged classic children's books about 6 years ago. Since then they have produced a series of stunning collectors' books. Every book in the series excels in design and needless to say Ingpen's illustrations add a great deal to each of the classic stories. This is all the more remarkable because there have been many illustrated versions of most classic books; so gaining the attention of new generations of readers isn't easy. However, each of these books make me want to re-read every book, because Ingpen's illustrations help you to discover new things in each of them. It's obvious how much Ingpen loves the books himself given the brilliant way each illustration supports and extends the text without dominating it. The books include:

'Peter Pan and Wendy' (2004) written by J.M. Barrie
'Treasure Island' (2005) written by Robert Louis Stevenson
'The Jungle Book' (2006) written by Rudyard Kipling
'The Wind in the Willows' (2007) written by Kenneth Grahame
'A Christmas carol and A Christmas tree' (2008) written by Charles Dickens
'Alice's Adventures in Wonderland' (2009) written by Lewis Carroll
'The Adventures of Tom Sawyer' (2010) written by Mark Twain
'The Secret Garden' (2010) written by Frances Hodgson Burnett
'The Night Before Christmas' (2010) written by Clement Moore
'The Owl and the Pussycat: And other Nonsense Rhymes' (2012) written by Edward Lear
'The Adventures of Pinocchio' (2014) written by Carlo Collodi.

All of the books in the series are stunningly designed and illustrated. They stand out on any book stand with quality hardback covers (with individually appropriate embossing), quality stitching, dust jackets that are consistent in design, featuring gold lettering for titles and fonts and design features throughout that are suggestive of classic books that are in some cases over 100 years old. The books ooze quality - you can't help but pick them up.

The illustrations utilise all of Ingpen's strengths, with hardly a double page spread in any of the books without illustrations, and many with more than one. The double page spreads, chapter divisions and inside cover images are of superb quality, and show Ingpen's attention to detail.  All the illustrations have the typical Ingpen fine line detail and wash colours that always give softness to the image. The cover of 'The Adventures of Tom Sawyer' is typical of the design of the books.

His Awards

Robert Ingpen has received many awards.  He was probably first noticed as a great talent when he did the illustrations for Colin Thiele's classic book 'Storm Boy'. This led to a long collaboration with Thiele. His work on 'Storm Boy' won him his first award, 'The Visual Arts Board Prize' presented by The Australia Council for the Arts. The list of awards that followed is significant and recognise his extraordinary skill. As well as the Hans Christian Andersen Medal already mentioned that was awarded in 1986, he was awarded the prestigious Dromkeen Medal for significant contribution to the appreciation and development of children's literature in 1989. He was also awarded an honorary Doctor of Arts from RMIT in 2005 for contribution to children’s literature and in 2007 he was made a member of the Order of Australia for service to literature.

• Another indicator of his standing as an illustrator is the significant international exhibitions of his work. These include:
• A major retrospective exhibition in Taipei, which travelled to other regions of Taiwan for a two-month period (2009). 
• An exhibition of the original artworks for 'Around the World in 80 Days' was held in London (2009). In 2002 Ingpen had a solo exhibition in Bologna, Italy.
• In 2002 Ingpen's work also featured in the inaugural exhibition at 'The Eric Carle Museum of Picture Book Art' (Massachusetts).

Reference

Complete List of Robert Ingpen's writing and book illustrating can be found in my previous post on the illustrator HERE.

An exciting new author & illustrator: Charlotte Lance

Charlotte Lance is the author and illustrator of a delightful new picture book call 'A Really Super Hero' published by Allen & Unwin (2013).  

 Charlotte is from Melbourne. She freelanced as an illustrator and graphic designer after she graduated from Melbourne's NMIT in 2004. She has been working as an illustrator for the last five years. This has been mainly in book publishing, but she also has an illustrated children's T-shirt label 'BOY GIRL'. She sells selected work as prints, and occasionally exhibits her work.

'A Really Super Hero' is her first author/illustrated work and is a wonderful first book in that sense. This is a book that connects with the experiences of virtually every child and of course their parents. In the words of Charlotte in my interview with her below, this story is "purely and simply about the way children can make the everyday and the ordinary feel extraordinary." With the inevitable response of their parents being "...to stare, one eyebrow up, with their ‘get-real’ eyes". It might just be that I love this book because as a grandparent I get to put the capes on as well! No eyebrow raising in my house when super heroes appear.

The language of Charlotte's text has a narrative verse form that catches your attention from the first stanza:

'I want to be a hero
and a REALLY SUPER one,
so my mum sewed my undies
with an S upon the bum'

The illustrations are detailed line drawings with wash used sparingly so that as 'reader' you are drawn to the characters, and in particular, their actions, manner and personality. The characters are so believable and so appealing. Children who read this book will be able to see themselves and the adults who love them. This is a wonderful book from a talented illustrator and writer.
 
On the strength of this wonderful first book I was quick to seek an opportunity to do a blog interview with Charlotte. The quality of this her first authored (as well as illustrated) book, and the answers to my questions, suggest that we can expect many more fine books from this author/illustrator that children will love.

1. TC: "What contributed most to your love of story in your childhood years?"

It’s probably a boring answer but stories and more specifically storytelling can take you to places that are not your here and now. As little ones we dream of all sorts of things that can’t come to life in our real worlds, from very simple things to big crazy dreams. For me it was simple things and the details. The colour of the walls in my imaginary house, the blankets on my imaginary bed. It’s a way of making what is in your head come true. And so now I still write stories for myself.

2. TC: "Could you tell me a little about the inspiration for ‘A Really Super Hero’?"

A Really Super Hero is purely and simply about the way children can make the everyday and the ordinary feel extraordinary. And then, the dreary old parents have to stare, one eyebrow up, with their ‘get-real’ eyes. Luckily this means absolutely nothing to the beautiful mind! ‘A Really Super Hero’ is just a bit of fun and silliness.

3. TC: "As a relatively new illustrator of children’s books and an even more recent author, could I ask do you see yourself primarily as an illustrator or do you want to do more writing?"

I see myself continuing to do both. Illustration, which is what I trained to do, has always been about storytelling. It makes sense to me that I do both. Whether or not that is just my view we’ll have to see!

4. TC: "Your ‘super hero’ in your new book ‘A Really Super Hero’ is a quirky and feisty young woman. Is there an inspiration for this wonderful character?"

Well yes, I’d like to say that it’s me, ‘quirky and feisty’, but in fact it’s me, clumsy and slightly ridiculous. As well as lots of our little ones who blindly storm through the obvious (to others) chaos created by their robust imaginations. To be the person who just continues on regardless of suspected hopelessness is something to be proud of yes?

5. TC:  " Poetry seems to have become more popular of late to offer a narrative account in picture books. Is there a particular reason why you have used it?"

There’s no particular reason. I did grow up loving the rhythm of Roald Dahl’s books. Actually whether they were in rhyme or not they were almost musical. Maybe that has something to do with it. ‘A Really Super Hero’ just seemed to come out that way. My next book is not in rhyme though.

6. TC: "What is the best response you've ever had to your illustrative and creative work?"

It was just recently, somebody said that one of my illustrations made her feel as though she had seen it in her childhood, that it felt familiar. Unless I unknowingly ripped somebody off, this is about as good a compliment as I could receive because it’s how I feel when I draw them.

7. TC: "Do you have other book projects on the drawing board?"

I am working on my next book with Allen and Unwin, ‘An Inconvenient Dog.' I also have a few projects that I want to do just for fun, I’m animating my own stories and illustrations. Why not?

8. TC: "Do you enjoy reading and poetry? On a long haul flight to London, which two books would you take?"

I love it, but haven’t done enough of it lately. I have two little kids so my long haul to London may well be a rotation of Batman and Spiderman…. and once they were asleep I think I’d go for Jane Austen. Beautiful, so easy to read and a little bit magical.

9. TC: "Who or what has been the most significant influence on your creative work?"

That’s a hard one, I definitely have my favourite illustrators, Quentin Blake, Janet Ahlberg, John Birmingham (these have not changed from childhood) and Roald Dahl I think for the magic of storytelling. And my mum for having a sort of creativeness that comes from heaven. She’s a genius. If she makes ‘that face’ when she looks at my work, then it must be crap. Truly, not joking, it goes in the bin. I try to avoid showing her anything, ever. Ever. 

Charlotte's responses above should be enough to make you hunt for her book but when you see the book you'll be glad that you did. Watch out for this young illustrator and author her next work,  'An Inconvenient Dog' to be published by Allen & Unwin.

Other relevant posts

Have a look at my other 'Author and Illustrator Focus' posts HERE

The Incredible Picture Books of Roland Harvey

Roland Bruce Harvey (born 11 December 1945) is an Australian children's illustrator and author. He still lives in his birthplace of Melbourne. He is best known as an illustrator of children's books using pen, ink and watercolour. His illustrations are readily identifiable by their incredible detail that can keep you returning again and again to explore each carefully designed plate. His work (especially his own authored books) displays his quirky humour and sense of fun. He is a former architect who established illustration and design firm Roland Harvey Studios in 1978, to produce greeting cards, posters and stationery with a very Aussie flavour. In 1981 he established his own book publishing company Five Mile Press. The children's book division of the company was designed to publish entertaining and challenging books that make kids laugh and raise ideas and issues. I first became aware of Roland's work as a teacher when he published the 'Eureka Stockade' (1981) and 'The First Fleet' (1982) with author Alan Boardman. All 31 of the children in my one-teacher school loved them across all my seven grades (kindergarten to year 6). I've been enjoying his work ever since. I have had great fun in recent times enjoying the adventures of Uncle Kev with my grandchildren aged 1 to 10.

His latest book in the Uncle Kev series has just been released which was the motivation for this post and the interview which follows. It's a classic, so read it!

The Uncle Kev series (Allen & Unwin)

Readers first met Uncle Kev in 'To the Top End: Our trip across Australia' (2009). This funny travelogue (with a difference!) takes us on the perilous journey of the Aussie larrikin Uncle Kev. We start in Tasmania's dense forests, sail Bass Straight to bushland Victoria, cross the Snowy Mountains, and follow the mighty Murray River, before crossing Australia's challenging outback to the tropical 'Top End'.  In Uncle Kev's second book, 'All the Way to WA: Our search for Uncle Kev', Roland takes us on the search for Uncle Kev, who is seemingly lost. Our 'renowned lobotanist, inventor and ex-commando' has been reported missing after setting out to find the supposedly extinct Australian 'Night Parrot' [if you want to find out who Uncle Kev 'really' is, read the interview].

In the third book in the series we get up close and personal with Uncle Kev as his relatives Frankie, Penny, Henry and their Mum & Dad visit and are taken around his working farm. With a mix of prose, poetry and 'expository asides' (I think Uncle Kev would like this term) and of course Harvey's wonderfully designed and drawn illustrations, we learn what everyone needs to know about his farm. Just why do we all need a shed? How good is his 'bungee-pik' machine at picking fruit? We explore his 'simple and functional' headquarters (no super heroes here!) with his gymnasium kitchen, the secret entrance from his garage under the loo, and a room for his working pigs. We also meet many of his friends and family, like Paddy and Maria Antipasto, the great cook Miss Kellie Kelly, and his Dad (who tests the bungee-pik). But of course, like any farm, there are also lots of animals. Uncle Kev knows them and loves them. He speaks to his cows in 'cow' (the bulls of course just speak 'bull'), and he polishes his pigs. Of course, all his animals have a name and a purpose. There is Zorro the Shetland, Maisy the Clydesdale, and Sampson who is having a foal!

This is Roland Harvey at his amusing best. And all the while, within the fun and silliness, we learn some stuff along the way. What I love about this book is the multi-layered way he builds up his story. The academic in me wants to say that this book offers the 3 to 53 year old the ultimate multimodal, intertextual experience possible from a book. But then again, I'd sound like an academic. No, it's a complex, funny and rollicking tale about a type of Aussie character that many of us just might have hidden in our families. Then again, I might just say that this is a bonzer book about Uncle Kev!

The Interview

I have but one regret about this interview, it wasn't done over a beer in a quiet Melbourne pub. I've never met Roland but would love to. As you read his answers I think you'll understand why.
 

1. Did you have a love of story in your childhood years? Why or why not?

My father was run over by two trucks in Collins St. when I was three, so was out of action for a lot of my childhood. He was also very strict. I am sure I missed out on some positive influence as a result.

I was lucky in having excellent English books sent out by my Aunts after WWII. I absolutely devoured them and learned a lot from them. They were Information and Adventure books [‘Eagle Annual’ for boys was full of science, action, biography, comic strips, natural history (very British!)] and they certainly got me interested in nature and adventure. They also influence my storytelling to this day.

‘I Spy’ was a series on natural history beautifully presented and consummately English. It showed me they great differences between the European and Australian ecologies and landscapes. I have consciously set out to show readers the character and beauty of the Australian environment.

The ‘William’ series (Richmal Compton) was a great study of three or four grubby boys in a rural village during the war. The characters were very funny and finely drawn, as were the pen & ink illustrations. The subtlety of English humour has stayed with me, I think.

2. Why do you think children (and adults) love your work?

People say they ‘love the detail’. I find this embarrassing to be truthful, as I try to put a lot more into a book than detail.

In studying Architecture and Environmental Design I found I am a ‘Big Picture’ person. My illustrations reflect this in the inter-relationship of everything. I think people respond to the story within the story, and the strangeness of some of these situations.

I enjoy the caricature element of my work, and I think people respond to some of the characters. We all know someone like that!

So much of a story is influenced by context, and I feel a need to provide that perspective. I also try to show how things work and why something is happening, or what might happen next.

3. Did (or do) you have an Uncle Kev?

I have a brother in law Uncle Kev whom I admire greatly. My character is three people rolled into one: Kev who led adventure tours through Africa in the ‘70s and has the shed and Jag in the book; ‘Bucko’, who was an outdoor ed. Instructor and totally gung-ho without quite enough caution to moderate his actions, and myself, who is probably still trying to prove his manhood. One of us is an inventor and never quite finishes things but I can’t say which one.

4. Did you start drawing crazy characters early in life? Was there an inspiration for your marvellously detailed drawings?

I did drawings of people , cars and buildings all through school, and later realized it was an aid to concentration, not to mention a way of being popular with my classmates, if not teachers.

5. You say you love watching people. Do you spend long hours sketching a scene like Uncle Kev's shed from life, or is this and other images re-creations?

My better drawings are done from impressions and memory. If I get stuck I just go and have another look. Some things, such as water are very difficult to interpret so I may take five visits to a river to get an understanding of the factors at play: movement, reflections, shadows, sparkles, transparency, refraction, ripples and eddies etc.

I do make notes and sketches of characters at airports and beaches etc, for future reference. I need to be careful how I use characteristics like fat, sadness and posture and mafia connections.

6. What is the best response you've ever had to a book?

I get different responses but the ones I value are when kids say the book is ‘cool’ (or I’m ‘cool!’) which tells me they have read it for pleasure, particularly when the subject is not cool, or is difficult. Awards are good, but I am aware they may be made to a bit of a formula. From a personal point of view I appreciate an author’s endorsement, again particularly if was a difficult subject.

‘Sick As – the History of Medicine’ is one which has ticked boxes on most counts; it is the book that works for primary and secondary students; it is the one they will come back into class at lunchtime to read more; my illustrations were taken from Medical school textbooks and the author called them ‘genius’. The importance of that to me was that for most of my career the feedback from the marketing end of publishing has been shallow, negative (anti-intellectual) and self serving. It is difficult to maintain confidence and a positive attitude when so many egos are so involved. One comment of that type keeps you going.

The first series of history books ‘Eureka Stockade’, ‘The First Fleet’ etc (about 1980) are still in print and would have sold in the 2-300 000 area. This was despite being initially rejected by a major publisher.

‘At the Beach’ has been German, Chinese, a drama for children and a best seller according to the publisher, so that is probably as good as it gets.

7. Will there be more Uncle Kev books?

Uncle Kev is a good character, and I would like to see him take on some new roles as a philosopher, a diplomat, and a traveller to exotic lands. He also may become a father and raise a family, but all that is up to my esteemed publisher.

8. Are there authors and illustrators who you admire and find inspirational?

I have certainly been influenced by many: Bob Graham, Ronald Searle, Quentin Bake, Spike Milligan, Ralph Steadman, and my History of Architecture lecturer, Jo Bradley, who made it come alive for me, and taught me all about context.


9. What's the craziest thing you've ever done (that you can tell us about)?

I shouldn’t mention the things I did (in cars, boats and skis) to prove to myself I could look it in the eye and stare it down… because mostly they were plain stupid.

Finally I realized that calculated risks which involve skill, planning, preparation and no risk to anyone else were a better idea. That is the message (I hope) in my books.

The weirdest thing was a result of an impetuous serial habit of saying whatever comes into my head to complete strangers.

Eg.: Walking around Bologna Italy late at night with my editor, Scott Riddle. Scott needs a powder room, so I wait in a small bar. English voices in the corner; I introduce myself as Quentin Blake. Laughter: ‘No you’re not Quentin Blake, he’s Quentin Blake'.

They never believed that I had no idea what Quentin looked like, that he was in Italy at all, let alone in that bar.

It is probably a good thing that I am both big and ugly.

Complete List of Roland Harvey's Books

'Eureka Stockade' (1981), author Alan Boardman
'The First Fleet' (1982), author Alan Boardman
'The Friends of Emily Culpepper' (1983), author Ann Coleridge
'Burke and Wills' (1985), author David Greagg
'My Place in Space' (1988), with Joe Levine, authors Robin and Sally Hirst
'Milly Fitzwilly's Mousecatcher' (1991), author Marcia Vaughan
'Islands in My Garden' (1998), author Jim Howes
'Sick As - Bloody Moments in the History of Medicine' (2000)
'Belvedere Dreaming' (2002), author Kate Ryan
'Belvedere in the City' (2002), author Kate Ryan
'Belvedere Is Beached' (2002), author Kate Ryan
'Islands in my Garden' (2002)
'Climbing Mount Sugarbin: Aussie Bites' (2003) 
'At the Beach: Postcards from Crabby Spit' (2004)
'In the Bush : Our Holiday at Wombat Flat' (2005)
'In the City : Our Scrapbook of Souvenirs' (2007)
'The Secret Record of Me' (2007)
'In the City' (2007)
'In the Bush' (2007)
'The Shadow Brumby' (2007), author Alison Lester
'Circus Pony' (2007), author Alison Lester
'Racing the Tide' (2007), author Alison Lester
'My Place in Space' (2008)
'Roland Harvey's Big Book of Christmas' (2008)
'Saving Mr Pinto' (2008), author Alison Lester
'To the Top End' (2009)
'All the Way to WA' (2011)
'On the Farm' (2012)

Some of Roland's Awards

Roland's books have received many awards. Perhaps his highest honour was winning the 2005 Dromkeen Medal presented annually to an Australian who has made a significant contribution to the appreciation and development of children's literature. He has also been honoured by the Children's Book Council of Australia (CBCA), including being short-listed for 'Burke and Wills' (1986) and 'To the Top End' (2010). 'Burke and Wills' also won the Clifton Pugh Award in 1986. 'Sick As - Bloody Moments in the History of Medicine' (2000) was shortlisted for the NSW Premier's Children's History Award.

'The Sword Girl' Series: A look at the writing of Frances Watts

There have been a number of new book series for younger readers in the last year (see my previous posts on series HERE & HERE), but one of the most delightful and engaging is 'The Sword Girl' series by France Watts, who I interview later in this post.

Frances Watts

Frances Watts is the pen-name of Ali Lavau, a Swiss born Australian author, who moved to Sydney when she was three years old. She studied English Literature at Macquarie University in Sydney, before teaching Australian Literature and children's literature. She went on to complete a PhD and took her first job in publishing. For ten years she worked with many talented Australian children’s authors and illustrators before she began writing her own books. Her delightful first picture book Kisses for Daddy (2005), which was illustrated by David Legge, was an immediate success. Her second picture book, also with David Legge, was the wonderful and innovative non-fiction book Parsley Rabbit’s Book about Books (2007). This won the Children’s Book Council of Australia’s Eve Pownall Award. Since then her writing has kicked into overdrive, with a number of wonderful books and a prolific output. I have listed all of Frances Watts' books at the end of this post.

The Sword Girl Series

This is an exciting series of books by Frances Watts that is illustrated by Kate Greenaway Medal winner Gregory Rogers. The central character is Tommy (short for Thomasina) who is a feisty kitchen hand who longs to be a knight. When Tommy, through a series of unusual events, is finally promoted to Keeper of the Blades, her life changes. As Frances Watts shares in her interview responses below, Tommy is "a girl who wasn’t a princess or a fairy, who could be kind and thoughtful and empathetic yet still be active and adventurous and ambitious". This is the perfect book series for girls who love adventure, action and want an alternative to stereotypical books for girls. One of my grandchildren (Rebecca) is just such an independent, intelligent, and creative girl of seven, who loves complex characters who don't follow the crowd. She has been reading these books as they have been released and just loves them. But the appeal of the books will be wider than simply girls, many boys will enjoy these fast moving and enjoyable tales with action and interest from beginning to end. They are ideally suited for young independent readers aged 6-9 years. The RRP in Australia is $11.99 for each book.

'The Secret of the Swords' (2012), illustrated by Gregory Rogers

Tommy is a kitchen hand at Flamant Castle who dreams of just one thing, becoming a knight! One day through fate or good fortune, she finds herself defending a cat, then herself, with just a broom from the blows of a boy who is the keeper of the knights' swords. When she is made the Keeper of the Blades, caring for all the swords in the castle armoury, it seems like her dreams might have come true. But after some discoveries about the cat, and then some more about the swords, Sir Walter's most valuable sword goes missing from the sword room. Disaster beckons. Question is, will Tommy be able to find it before she is sent back to the kitchen in disgrace?

'The Poison Plot' (2012), illustrated by Gregory Rogers, Allen & Unwin, 2012

This is the second adventure in the 'Sword Girl' series. Evil plans are stirring and it's up to Tommy to keep the peace at Flamant Castle! Tommy is on an errand to the smithy in the town, and overhears a plot to poison Sir Walter the Bald, the castle's bravest knight. It is to occur during a banquet and it is to look like the work of a neighbouring nobleman. Tommy must foil the plot or Flamant Castle will be at war. As in the first story in the series, Tommy receives some help from some unusual sources.

'Tournament Trouble' (2012), illustrated by Gregory Rogers

Flamant Castle is having a tournament and all the knights and squires of the neighbouring Roses Castle are invited. Tommy has jobs to do at Flamant and looks set to miss the fun and excitement. After Edward the Squire falls from his horse it looks as if Flamant Castle will be a squire short. Sir Benedict asks Tommy to take his place and offers her one of his own horses. But there's a problem, she has never ridden a horse before, and even if she could, there would be jousting to learn.  With some unexpected help with her riding she sets out to help Flamant win the tournament.

'The Siege Scare' (2012), illustrated by Gregory Rogers

When Sir Walter, Sir Benedict and the other knights go to nearby Roses Castle for a tournament, the enemy knights from Malice attack Flamant. Sir Malcolm the Mean and a raiding party head for Flamant. Tommy is the key to saving the castle, but how will she get a message to Sir Benedict, who is a day's ride away? The castle is surrounded with no way out! But Tommy devises a daring plan. But is it too late?

An Interview with Frances Watts

1. TC: What contributed most to your love of story in your childhood years?

FW: Probably a plentiful supply of good books! My parents were (and are) avid readers, and my sister and I just naturally followed in their footsteps. We were regulars at the local library and the second-hand book store, and my grandparents in America used to send huge parcels of books and subscriptions to children’s magazines. (I particularly remember Cricket, which was essentially a literary magazine for kids.)

But you asked about my love of story particularly. I think I’ve always been drawn to story because to read a story is not just to observe, to be a spectator; it is to feel, to live, to experience. As Atticus Finch said in To Kill a Mockingbird, one of the most wonderful books of all: You never really understand a person until you consider things from his point of view—until you climb into his skin and walk around in it. The intimacy of a story can provide that experience. When you read, it is personal: good literature takes you right out of your own skin and into someone else’s. It has a voice that rings true. It makes you feel something.

2. TC: Could you tell me a little about the inspiration for the Sword Girl series?

Château de Chillon (Wiki Commons)

FW: My first inspiration for the series was really my father: whenever we would drive around our region on holidays in Switzerland (or even further afield, in Italy or France), he’d tell us about the battles that took place in this town or that, describing scheming kings, luckless dukes, relating the legends and apocryphal stories…My father has a great eye for character and for the quirky detail. It made history fascinating. As for the medieval setting, that too comes from my Swiss background. The city where I was born, Lausanne, has a very rich medieval history, and there’s a particular medieval castle nearby—the Château de Chillon on the shores of Lake Geneva—which I have been visiting since I was a child. The last time I was there, I started to think of the castle as the springboard for a setting, to imagine myself as a girl living there—and realised I would have preferred to be a boy living there: a little less needlework or kitchen drudgery; a little more swordplay! That’s really where the character of Tommy started to take shape: a kitchen girl in a medieval castle who longs to be a knight. Of course, a big part of the appeal of a medieval setting for me is that it gives me a lot of imaginative leeway; the medieval world had such a fluid relationship between fact and fiction that it seemed perfect for the kinds of books I love to write.

3. TC: Thomasina is obviously an unusual lead character in a children's book set in medieval times. Is the choice all about simply wanting to portray a girl as a strong, clever, courageous and determined lead character, or are there other reasons for this interesting character?

FW: Yes, being able to write a strong girl character was definitely something I wanted to do—a girl who wasn’t a princess or a fairy, who could be kind and thoughtful and empathetic yet still be active and adventurous and ambitious. I think, too, that I wanted to convey the idea that the times we live in can change, can be changed – but it is up to us to change them, to help to make the world we want to live in. And sometimes that’s just a matter of being yourself and following your heart. As Tommy performs her role as Keeper of the Blades with such diligence and skill and determination, more and more people around her begin to accept the idea of her one day becoming a knight.

4. TC: Do you have any particular reasons for pitching this book series at young independent readers?

FW: It’s an age group I do enjoy writing for. There’s a combination of innocence and awareness; young readers embrace characters wholeheartedly, they get a kick out of absurd humour and they are absolutely open to joy and wonder. In a way, though, I never feel like I’m deliberately pitching my books at a particular age group or ‘market’; in the first instance, I just write the stories I want to tell and worry about the audience later.

5. TC: You've obviously done some research in situating these stories historically, but you also have fun with names and language and a variety of elements of fantasy. How and why did you come up with this interesting mix?

FW: I love language—its quirks, its ambiguities, the way it sounds, the way we can play with it; there’s always an element of play with language in my writing, just because it’s a passion of mine. (And, if I’m honest, I’m writing for myself first, before any other reader.) As for those elements of fantasy…I just can’t explain them! It’s what comes out when I begin to write.

6. TC: What is the best response you've ever had to a book?

FW: I don’t know if I could choose a single instance: any time I hear that someone has enjoyed one of my books, has connected with the characters, has been moved or delighted or inspired, is a thrill. But one of the most moving ‘uses’ of one of my books has to be when 'Kisses for Daddy' was chosen, for a while, by the Storybook Dads program Dartmoor prison in the UK. The program helps inmates to record bedtime stories onto CDs and DVDs. These are then sent to their children, helping prisoner parents to maintain an emotional bond with their children. I was lucky enough to hear a recording of a prisoner reading Kisses for Daddy to his son. Some of the prisoners have poor literacy skills themselves, but are keen to encourage their own children to read. For a book to become a means of a father expressing his love for his children, and his hopes for their future, is a beautiful thing.

7. TC: Will there be lots more Sword Girl books?

FW: I hope so. I’m having a lot of fun with the characters and the setting. I’ve just finished writing the sixth book (books 5 and 6 in the series, ' The Terrible Trickster' and 'Pigeon Problems', will be published in April 2013) and I still feel like I’m bursting with ideas.

8. TC: On a long haul flight to London, which two books would you take?

FW: Hmmm...That’s a very different question to the whole ‘desert island’ concept, because I’m not going to be taking favourite books on that flight but ones I haven’t read yet. So these aren’t recommendations but, rather, books I’m keen to read myself. I’ve just started Michael Chabon’s Telegraph Avenue—he’s a dazzling writer. And if we can delay the flight till November I’m really looking forward to getting my hands on Barbara Kingsolver’s new novel, Flight Behaviour. She has a voice that really gets into my head.

 Other Books by Frances Watts

'Kisses for Daddy' (illus. David Legge) (2005)
'Parsley Rabbit's Book about Books' (2007)
'Captain Crabclaw's Crew' (2009)

Ernie & Maud Series

A series of junior novels about two very unlikely superheroes, Extraordinary Ernie and Marvellous Maud.

'Extraordinary Ernie & Marvellous Maud' (2009), illustrated by Judy Watson. CBC Notable Book in 2009.
'The Greatest Sheep in History' (2009) illustrated by Judy Watson
'The Middle Sheep' (2011), illustrated by Judy Watson
'Heroes of the Year' (2012), illustrated by Judy Watson

Gerander Trilogy

'The Song of the Winns' (2011).  Children’s Book Council of Australia Notable Book 2011.
'The Spies of Gerander' (2011)
'The Secret of Zanzibar' (2012)

Picture Books

'Kisses for Daddy' (2006), illustrated by David Legge. Children’s Book Council of Australia Honour Book, 2006
'Parsley Rabbit’s Book about Books' (2007), illustrated by David Legge. Winner of the Children’s Book Council of Australia Book of the Year: Eve Pownall Award, 2008.
'Captain Crabclaw’s Crew' (2008), illustrated by David Legge. Shortlisted REAL children’s choice awards (NSW, Vic, ACT, NT) 2012. Children’s Book Council of Australia Notable Book 2010.
'A Rat in a Stripy Sock' (2010), illustrated by David Francis. Shortlisted REAL children’s choice awards (NSW, Vic, ACT, NT) 2012. Children’s Book Council of Australia Notable Book 2011.
'Goodnight, Mice!' (2011), illustrated by Judy Watson. Winner: Prime Minister’s Literary Award 2012. Children’s Book Council of Australia Notable Book 2012.

For more information on Frances Watts and her work (HERE)

Technology takes author to the bush & animals to the classroom

About Aleesah Darlison

Aleesah Darlison has written picture books and novels for children and is also a book reviewer for the Sun Herald newspaper. Aleesah loves animals! In her words, "animals have always been a part of my life, which is why they feature in so many of my stories". She travels around Australia and internationally, delivering author talks and workshops for children and adults on creative writing and marketing.

Her latest project is to offer exciting author and illustrator 'visits' to children in remote areas. This has been made possible by a partnership with Education Officers at Sydney's famous Taronga Zoo and the availability of the NSW Department of Education and Training's 'Connected Classrooms' initiative. This has provided video conferencing technology to public schools across the state, even in the most remote regions.

‘Books and Animals’ sessions with Aleesah Darlison

It’s rare that small or isolated schools have the opportunity for children’s authors or illustrators to visit. Not only are there time and distance limitations involved in travelling to outlying regions, there are also cost factors that mean country schools often miss out. Thanks to video conferencing technology, students everywhere can now benefit from having an author visit at minimal cost.

To help celebrate 2012 Book Week, children’s author, Aleesah Darlison, has developed amazing ‘Books and Animals’ video sessions in conjunction with Taronga Zoo. On Monday 27 and Tuesday 28 August, Aleesah will be joining Kristy Robberts at Taronga Western Plains Zoo (Dubbo) to run two sessions: ‘Echidnas and Aussie Animals’ and ‘Bats and Nocturnal Animals’. The sessions can then be broadcast anywhere.

The sessions focus on Aleesah’s picture books, 'Puggle’s Problem' (listed on the NSW Premier’s Reading Challenge) and 'Warambi' (shortlisted for the 2012 CBCA Eve Pownall Award for Non-Fiction and the 2012 Wilderness Society’s Environmental Award for Children’s Literature).

Several sessions are scheduled throughout each of the two days and run for 45 minutes each. The sessions are suitable for K – Year 3 and include an author talk and book reading by Aleesah plus factual information about the Aussie animals featured by Kristy Robberts. Animals at the zoo will make special guest appearances so students can see them up close and ask questions about them.

The sessions fit well within the NSW Curriculum and are supported by Puggle Packs and Bat Packs, which include Teacher’s Notes for both books. For more information, visit Aleesah’s website at: www.aleesahdarlison.com or email her at aleesah@bigpond.net.au.

NSW teachers can also make bookings at DART Connections:

http://dartconnections.org.au/upcoming/litlive.html#8-2012.

Photo courtesy 'Screen Central'

 Teacher Feedback from past video conferences:


"My class and I loved participating in the VC last week. It was very engaging for the students, and they really enjoyed the experience. Love the echolocation song!"

"Today's conference went very well and the kids couldn't stop talking about Puggles and echidnas afterwards!"

"Thank you for such a fabulous video conference. It was our first video conference and the children and staff thoroughly enjoyed it. The children were talking about it all day!"