“Everything, from the candid dialogue to the artwork, brings to life an adventure full of heart. [DeadEndia] is a celebration of diversity and love that transcends all the astrals levels” – Lorena Alvarez, creator of the Nightlights series
The Broken Halo (written and illustrated by cartoonist and all round wonder Hamish Steele) follows on from where DeadEndia: The Watcher’s Test finished off, but can also be read as a stand alone graphic novel if you fancy jumping straight in.
But as a short summary for any newcomers: war is brewing across the thirteen planes. And as always, haunted house attraction and portal to hell Dead End is right at the centre of it.
Recently reopened as a hotel, Dead End’s resident tour guide turned hotel manager Norma is determined to leave the ghosts of the past where they belong. But with her friendship with Barney up in the air, and angels and demons using the hotel as their literal wrestling ring, Norma soon finds that unwanted ghosts can appear at any moment, especially when they’re your own.
Read on for a short preview of The Broken Halo, and don’t forget to preorder your copy now if you like what you read!
A beautiful treasure trove of tales perfect for bedtime, The Sleepy Pebble and Other Stories is co-written by sleep specialist Professor Alice Gregory and children’s author Christy Kirkpatrick, who’ve incorporated mindfulness and other techniques into every chapter.
The book is fully illustrated throughout by Eleanor Hardiman, whose elegant watercolours truly bring this book to life. We sat down with Eleanor to get a closer look at her working process, and to get a behind-the-scenes look at her studio.
We’ll pass you over to Eleanor to tell you more…
Using analogue media is really important to me and my process, and that starts right from the sketch stage. My roughs always start with pencil sketches, I have one retractable super chubby pencil that I love drawing with, it means I can create more flowy shapes and spreads without getting caught up in detail.
The Sleepy Pebble and Other Bedtime stories took inspiration from old fairytale books in it’s layout and contains a huge mix of different elements, this was the biggest challenge for me! The book includes a set of patterns, spots, character’s, drop caps and single and double page spreads for each story. All my sketches start as little thumbnails and are then redrawn and finalised at book size to keep everything consistent. There were so many elements on the go I made tick-charts for each story to keep on top of all the artwork in its various stages. Seeing the rough sketches in the book layout for the first time was really exciting, it went from pages of various sketches into something book-like!
Each of the stories were so different and I paid attention to creating different environments with different plants and details for each one. I based the tree story on french lilly filled lakes, and the pig story took inspiration from the Vietnamese mountainous countryside.
Each of the 5 bedtime stories has a different limited colour palette, so my next step was to make detailed colour plans for each story and element, so that all the decisions are made before the final artwork stage. Watercolour is a very unforgiving medium so it’s saves so much time by planning everything out! I transfer the pencil sketches over to procreate for the iPad pro and plan the colours digitally. The iPad means I can try lots of different colour ways out quickly without painting each option. This process saves lots of time and makes me more adventurous with colour, although I had to be mindful about including colours that are as effective in paint as they are screen.
With a new book layout full of coloured roughs I was ready to start final artwork, my favourite part! I like to get really settled at my desk before painting, as I’ll be there for a while. I usually have a cup of tea and a good podcast on the go. On my desk I have the sketch, colour plan for reference, a mix of brushes, tissue paper, clean and dirty paint water, masking fluid and a scrap of paper for testing the colour and consistency of the paint. I work traditionally with watercolour, meaning I start by painting the lightest colours, and work my way to the darkest using a combination of washes and thicker paint for the darker details. Simple elements like the drop caps or characters are painted as one final image, however more complex spreads with lots of elements are painted in layers and compiled together on photoshop. This means there is less pressure to paint everything perfectly first time (phew!) and also means elements can be moved or changed individually if they need to. I worked on each story one at a time, this was to make sure they all looked consistent as mixing paint again is tricky, but this also meant I really got to delve into each one, I love each story for different reasons and having this variety was a great part of the project.
After scanning and combining the different layers of each image I start to edit the artwork digitally. This usually includes small tweaks like adding saturation or contrast to the paintings, cleaning up any marks and neatening any edges. Illustrating the cover of the book was so special as we got to include spot gloss and gold foiling (my favourite!), it also meant I got to revisit the underwater artwork and use all the squiggly coral patterns and speckled pebbles.
The Sleepy Pebble is out now in the UK, available on our website and in all best bookshops. The release date for the US and Canada is October 15th, and available from Penguin Random House.
We’ve got a bunch of Flying Eye titles available at your local library ready to be read as part of the challenge, from Professor Astro Cat to The Secret of Black Rock.
If you’ve not heard of it before, the Summer Reading Challenge takes place every year during the summer holidays. You can sign up at your local library, then read six library books of your choice to complete it.
And best thing is, it’s completely free!
To see if your local library is taking part head over to the SRC website here
We’re also giving away some special books to those who take part, just take a photo of a Flying Eye book one of your family have read as part of the challenge in your local library, and tag @FlyingEyeBooks on Twitter or Instagram.
And whether you’re a librarian, a care-giver, or a parent looking for some extra activities for your kids this summer, we’ve got you covered. As part of the programme we’re giving away these free Space Chase themed work and colouring in sheets, which you can see below
(For the large versions just email email@example.com with Summer Reading Challenge in the title)
I’m sure we can all agree that the artwork for Ancient Wonders, our latest non-fiction Flying Eye title about the mysteries and marvels of the Ancient World, is absolutely stunning.
Fully illustrated throughout by Avalon Nuovo, you can feel the awe-inspiring nature of everything from the Pyramids of Giza to the Hanging Gardens of Babylon emanating through the pages. The depth and sense of scale that Avalon creates in her illustrations is incredibly impressive – bringing a monument to life that hasn’t actually been seen for thousands of years is no small feat!
To celebrate the publication of Ancient Wonders we decided to dig a little bit deeper into Avalon’s working process, and she let us in on some of the secrets behind how she puts together her illustrations.
Avalon was also generous enough to send us some of her work-in-progress videos, which document her entire drawing process. See below for a time-lapse of one of her double page spreads coming to life!
So how do you begin your illustrations, do you use one program for every element?
For the roughs, I always work in Photoshop on a big Cintiq monitor. The roughs of each page are really more about design than they are about drawing, so I’ve found it really important to do the roughs on a large screen, where I can view each spread at the same size as the printed book while I’m drawing. If I don’t, I often make something that looks nice at half-size, but when it’s enlarged to actual size, it might look totally awkward!
I tend to make the rough illustrations really, really detailed— they’re in black and white, but I basically paint in all of the darks and lights and make it look pretty finished. Sometimes it feels like a lot of work for something that really only a handful of people will see, but it’s so helpful to to be super clear when showing the designer/editor what exactly what it’s going to look like, so that we can do all the decision-making before the final illustration.
It’s also a lot more enjoyable for me to make all those decisions in the sketches, so that when I do the final illustrations, I get to sit back and let my mind wander and just enjoy the drawing (and some music/podcasts/netflix to keep me company!)
And what do you do when it’s time to move on from the roughs?
Once they’re all approved, I turn the photoshop files into flat JPEGs and send them to my iPad. I use Procreate on my iPad Pro to make the final illustrations, and as you can see from the time-lapse videos, I basically use the rough sketch as an underlay.
I usually draw over all the linework first with the sketch at low opacity underneath. After that, I keep the sketch layer turned off while I fill in the color, but I continue to use it as reference for all the lighting and darks/lights that I’ve already figured out in the rough sketch. I send it back to my computer when I’m done, change the document from RGB color mode to CMYK (Procreate only support sRGB at the moment— hopefully that changes soon!), and it’s done!
What makes you prefer using an iPad over a computer?
I could definitely do the final artwork on my computer, but using my iPad really just became a habit because— aside from the fact that I LOVE the workflow in Procreate— I had to do a fair bit of traveling for Christmas holidays and other jobs while I was working on Ancient Wonders, and working on my iPad meant that I could be working on final illustrations pretty much anywhere.
That’s made for some really nice memories associated with the book, personally— when I look at the Hanging Gardens of Babylon spread, I remember working on it while watching an (American) football game with my family in northern California while visiting for Christmas, and when I look at the Inspiration: Artemis spread, I remember making it while on a trip to Finland to meet my partner’s family for the first time!
And what about the analogue vs. digital debate, are you firmly a digital person?
I actually really love working with analogue media— I’m a really dedicated sketchbook keeper and when I’m making illustrations just for fun, I still find it most satisfying to use ink, gouache and colored pencils.
I have two desks in my home studio— one with my monitor/computer, and one that has a tilting top for good old-fashioned drawing. I haven’t used it a lot these days though— ultimately I’ve realized that because my work is so detailed, it’s more realistic to work digitally for my professional work.
As a result, I haven’t used traditional materials much lately— nowadays my drawing desk is where my partner sits so that we can keep each other company while we both work late into the night (or, now that my partner has finished their thesis, so that we can still hang out while I work and they play Skyrim!)
We have the pleasure to announce ourselves as a supporter of Pathways, an exciting new initiative for diverse, ambitious and talented artists who believe they can be the next generation of children’s illustrators.
Pathways is exclusively for those from ethnic minority and disadvantaged backgrounds and is open to both those with no formal illustration training, and well as to undergraduates, graduates and postgraduates.
The programme is a two year course, during which you will be taught by tutors from BA and MA illustration courses from ten affiliated Universities. A wide range of world-renowned illustrators, editors, art directors and designers will also be taking part as mentors – that includes some of us here at Nobrow & Flying Eye! Members from our very own editorial and marketing teams will be working with Pathways to help you get the very best start in the world of publishing.
Check out their website for further details, and don’t forget – applications close September 2nd!
TCAF is just around the corner and this is going to be the biggest year yet for Nobrow! Come out on Saturday, May 11th and Sunday, May 12th to check out the latest Nobrow titles and join in on the fun! The Nobrow team will be at tables 133 and 134, so be sure to drop by and meet some of our incredible artists: AJ Dungo (In Waves – preorder here), Molly Mendoza (Skip –preorder here), and Jérémie Royer (Darwin: An Exceptional Voyageand Audubon, On the Wings of the World) and TCAF Special Guest Lorena Alvarez (Hicotea and Nightlights)!
TCAF will also be the first place you can get your hands on two exciting debut graphic novels from some new stars in the comics scene!
First up is In Waves, AJ Dungo’s deeply personal and inspiring graphic memoir about love, loss, and the legends of surfing who rode the waves from cultural tradition to global phenomenon. Be sure to come by for advance copies, stickers, and limited edition bookplates while supplies last!
We’ll also be debuting Molly Mendoza’s Skip, a fantastical and colorful sci-fi teen adventure unlike anything you’ve ever seen! Molly’s a talented up-and-comer, and we can’t wait for you to see what she’s done with her stunning and inventive debut graphic novel!
Check out the schedule below for all the signings and panels featuring our Nobrow artists!
Saturday, May 11
Signings (Tables 133-134) 11am to 12pm – Molly Mendoza 12:30pm to 1:30pm – Jérémie Royer 2pm to 3pm – AJ Dungo 4pm to 5pm – Lorena Alvarez
Panels 11am to 12pm – Spotlight: France (with Jérémie Royer) at Forest Hill Ballroom 2:30pm to 3:30pm – Spotlight: Imaginary Worlds (with Lorena Alvarez) at Beeton Auditorium
Sunday, May 12
Signings (Tables 133-134) 11am to 12pm – Lorena Alvarez 12:15pm to 1:15pm – Molly Mendoza 1:30pm to 2:30pm – AJ Dungo 3pm to 4pm – Jérémie Royer
Panels 11am to 12pm – Your First Graphic Novel (with Molly Mendoza) at Summerhill 12pm to 1pm – Mental Health Panel (with AJ Dungo) at Forest Hill Ballroom 1:30pm to 2:30pm – Science Non-Fiction Adults (Jérémie Royer) at Forest Hill Ballroom 1:30pm to 2:30pm – Inter-generational Comics (with Molly Mendoza) at High Park Ballroom 2 & 3 2:45pm to 3:45pm – Meet the Colombians (Lorena Alvarez) at Learning Center 2:45pm to 3:45pm – Other People’s Stories (AJ Dungo) at Hinton Learning Theatre
TCAF, May 11th (9am-5pm) and 12th (10am-5pm) Toronto Reference Library, 789 Yonge Street, Toronto Nobrow Tables 133 and 134
If you’re in New York on April 6-7, come visit our booth at the Society of Illustrators MoCCA Fest 2019! We’ll be selling books on Saturday from 11am to 7pm and Sunday from 11am to 6pm at Booth C141 and 142. Kingdom by Jon McNaught, which The Comics Journal has called “a pleasure,” and Hilda and the Great Parade, the second TV-Tie in to the Hilda animated series on Netflix, will both be making their show debuts at MoCCA.
It’s only a week until the guide to everyone’s favorite mysterious creature publishes: The Secret Lives of Unicorns. In all our excitement to bring more facts about unicorns to the world, we sat down with Dr. Temisa Seraphini, the writer of The Secret Lives of Unicorns to ask about her personal history with these magnificent creatures. Read on for first-hand stories of encounters with unicorns, historical details, and tips for what you can do to protect this endangered species today.
Flying Eye Books (FEB:): What made you want to start studying unicorns?
Dr. Seraphini: I’ve always been fascinated by odd creatures – by odd, I mean that they are odd to other people but no odder than most things. I like things that seem to defy logic and puzzle expectations. So from a young age I collected books on monsters, tomes on zoology, encyclopedias on ornithology, and ancient codices of forgotten animals. My local library was small but I was quite determined. What I discovered was that the unicorn was far more present that I ever imagined. It existed throughout history and across cultures in symbols from Ancient Babylon, legends from the Ancient Greece and was even sighted by Genghis Khan. They popped up everywhere. Their image was repeated, and repeated in places that were completely disconnected in space and time. The image of the unicorn still features on many coats of arms across the world—including that of the United Kingdom. It’s also the national animal of Scotland. Who wouldn’t want to start studying something so utterly mysterious?
FEB: Where were you when you saw your first unicorn? Can you tell the story of that time?
Dr. Seraphini: It was in the Sherwood forest in Nottingham, England. On Saturday mornings I used go walking with my grandparents in the woods. They packed a picnic filled with treats and after lunch they’d fall asleep under the trees, as grandparents do. Once they were sound asleep I would trot off to do some investigating on my own. I used to collect funny shaped twigs, the woods were the best place for finding new ones. I was running about quite happily until I tripped and fell over some protruding roots. I had scuffed up my legs badly and was on the floor weeping when a young unicorn appeared. It licked the wounds before galloping off. It happened very quickly but I still remember how large and curious its eyes were.
FEB: Why is it so hard to find a unicorn? Have humans ever tried to keep them in zoos?
Dr. Seraphini: They are incredibly shy and don’t tend to venture into human spheres. From around the 5th century and throughout the medieval period they were viciously hunted and caged. They were deemed symbols of purity and much of their anatomy was used for medicine. Their numbers dwindled and for a very long time they almost completely disappeared. Academics across the world believe that unicorns began accessing a space called the ‘Realm Beyond.’ It’s a haven for all magical creatures, we’re not sure how it was created or when, but we know it exists and we know it is as fragile as our own natural world. With the efforts of the SSU—Secret Society of Unicorns—we’re trying to encourage unicorns back into our wild spaces.
FEB: What do people need to know about protecting unicorns? Are they an endangered species?
Dr. Seraphini: Yes, they are. Today the greatest danger is that their natural habitats are disappearing. These are the wild windy moorlands where their berries grow, or dense forests of North America where they have roamed for centuries. They are incredibly fond of spaces of extreme beauty. The best thing we can do to protect them is learn about their habitats and how to maintain the spaces that they love to live in.
FEB: What is the most magical thing you’ve seen a unicorn do?
Dr. Seraphini: A young unicorn taking flight for the first time. It’s not magic in a sense that it is supernatural but the moment itself was magnificent! It was magic in the way that nature can be magic. Much like seeing a spectacular view that takes your breath away.
FEB: What advice do you have for budding unicornologists?
Dr. Seraphini: Keep tracking, keep learning, keep fighting for their habitats. And never stop believing in magic, without it the world is a sad sort of place.
There you have it! You can find out even more next Tuesday, April 2, when The Secret Lives of Unicorns is available everywhere books are sold! Dr. Seraphini will be hosting a live Instagram Q &A on April 2, so follow along there for details.
The incredible Lorena Alvarez is coming all the way from Bogotá, Colombia for a bookstore tour in Los Angeles! Lorena will be doing events at three different locations, signing her new graphic novel Hicotea, and answering questions about writing, illustration, and creating her graphic novels Nightlights and Hicotea. Check out the details below, and don’t forget to sign up for her writing/illustration workshop at Gallery Nucleus if you’re near the Alhambra area on March 30. Follow us on Twitter for updates!
Since yesterday was the first day of Spring, we’re celebrating with this interview with Sandra Dieckmann, the creator of Leafand The Dog That Ate the World. Both of these gorgeous books are available wherever you buy your books. Read on to discover how Sandra was inspired to turn a dark season of her life into a tale of resolve and strength in The Dog That Ate the World.
1. How did The Dog That Ate the World start?
The first time I thought of the story for The Dog That Ate The World I was lying under a tree in a park near my house watching the sunshine come through the tree branches above, celebrating being alive and warm. It was all roughly there, beginning to end. I don’t think it could have formed as a story in my mind if I hadn’t gone through a particularly dark time beforehand. I struggled through crippling anxiety and health problems for many months and connected that day to the the saying that “depression is a big black dog.” I imagined it swallowing the sun and everything alive, but that I would come out the other side stronger than before.
I thought about the power we give to thoughts that are counterproductive and destructive and shared a little sketch of handing the dog a flower. I wrote: ”If the big black dog comes to bother you don’t fight him, invite him! He’ll soon become much smaller even if he never leaves your side.”
In the book the dog disappears through taking everything in existence but mainly also because no one gives him any power by thinking about him or physically fighting him.
2. What and who in your life inspired the different characters and the overall arch of the story about building community in the wake of intense greed?
The Dog The Ate The World is a cyclical story of a community that lives peacefully, but is segregated into different groups of animals, until one day the dog appears in their valley. He swallows everything and everyone and does not stop, while growing to incredible proportions. The animals must band together and rebuild their lives. There is music when words fail, growing together as friends and rebuilding lives in uncertain times. It’s a story of rebirth and dark and light.
In a big way it’s the story of the world we live in. It is not a classic hero story where good defeats evil, but it is a story about overcoming darkness by living well and also about balance. The dog eats and eats without being satiated, which brought up the theme of blind consumerism. In my eyes it is also about the strength we all carry inside to make the best of a bad situation: be it a mental health crisis or living under a disagreeable government. The children of the world (the bunnies in my book) are faced with an incredible threat but respond peacefully. These characters were inspired by an early sketch I had made responding on the current political climate in the UK around the Brexit Vote. The calm, wise fox leads with little words and speaks through his music to pull the community together. He is the pillar of the animals in the valley and gets swallowed first by the dog, making everyone spring into action. Hans Christian Andersen said it best: “Where words fail, music speaks.”
The other characters I imagine all have their roles in the community and help rebuild it together, even though they lived very separate before this difficult time. The ferrets are silly and fun, the badger is the support system, etc. and all together they form a brilliant band. They dance by fire light and get on with living a good life. Hopefully everyone will find a different angle on this story. You will also notice a lot of mushrooms. It’a a surreal fable so you know…
3. After the success of Leaf, how did you feel putting together your second book? Was your process any different?
The Dog That Ate The World is more of a concept book than Leaf. Leaf grew together out of different stories and that was a marked difference between the two in the beginning. It was a little daunting to follow Leaf so soon after but also freeing in a weird way as I had been really pleased with the response to my debut, and I felt like I could try something a little different. The Dog That Ate The Word is a story very close to my own heart and in my mind this book looked darker, far too dark for a picture book so we worked really hard on balancing the dark and the light without losing my vision.
My brilliant editor Harriet was imperative in this task. I initially also thought about trying to work with simpler shapes and less detail but my usual way of working in detail automatically crept back in. In early idea sketches and roughs the dog was a very flat, black shape and the idea was to have him grow throughout the twelve spreads until he disappears when he has consumed everything. This we kept as a visual tool. In an early version of the story the dog swallows the mountains too which break his teeth. He started off looking quite silly but we later decided to make him more wolf-like.
4. What’s your ideal drawing space and what kind of snacks/beverages does it include?
My dream studio would be a light space filled with plants, big windows, and french doors leading into a garden which ends at a stream or lake. That would be bliss. I have worked in a shared studio for many years now with different illustrator friends and that has always been pretty ideal. My workplace, Studio Mama Wolf moved venue several times. Once we even had a studio/shop open to the public. That was especially good when we had short dance sessions to loosen up and laugh together and stuffed ourselves with morsels we had brought in to share. Space and food has always been best shared!
5. When did you start creating illustrations? What has kept you going?
I went full time as a freelance illustrator in 2012. Before that I mostly illustrated nights and days off for a couple of years, while I worked part time and built up my contacts and portfolio. Etsy was a big part of getting established, and my shop there has always been busy and a lifeline in supporting myself as an independent artist. I have always been in love with drawing from a very early age and still have paintings I did when I was four years old. When I was young I explored the countryside and forest in rural Germany as I wasn’t allowed to watch more than an hour of telly a day, spent loads of time reading, drawing and making things, and in the end just never stopped. I think at every stage of my life drawing has been my soul’s soothing balm.It’s been my retreat, my way to communicate feelings and cope with life in general (apart from crazy deadlines of course).
Hello, dear reader, we’re very excited to share some news with you..! We are thrilled to announce that DreamWorks Animation have optioned the motion picture rights to the Brownstone’s Mythical Collection series by Joe Todd-Stanton! We can’t tell you any more than this for now but rest assured that we will share all further details as soon as we can!
Brownstone’s Mythical Collection follows the stories of the Brownstone family and their adventures through ancient mythologies. Two books have been published in the series so far. In Arthur and the Golden Rope(2016), unlikely hero Arthur journeys to the land of the Vikings where he meets Norse gods and monsters. In Marcy and the Riddle of the Sphinx(2017), an anxious Marcy travels to ancient Egypt to save her adventurer father and overcome her deepest fears. The next book in the series will be based on Chinese mythology, and is publishing in Autumn 2019.
Winner of the Waterstones Children’s Book Prize 2018 forThe Secret of Black Rock, Joe Todd-Stanton said upon hearing the news: “Knowing this studio, which was such a huge and positive part of my childhood, have even read my book is mind-blowing. The fact they are interested in possibly adapting it is on another level. I’m really excited to see what happens. “
Sam Arthur, publisher and C.E.O. of Flying Eye Books commented “DreamWorks have a knack for picking up on great content – Joe Todd-Stanton’s star is rising!”
Please contact Zoë Aubugeau-Williams (firstname.lastname@example.org) for more information.
Infographics meet architecture in Adam Allsuch Boardman’s unique illustrations, which feature detailed line work with diagrammatic accuracy. Demonstrated in his latest book, An Illustrated History of Filmmaking, Adam leads us through the history of one of his favourite subjects. We caught up with Adam to find out more about his creative process as well as discussing his distinctive visual language.
Q. Where was your first port of call for your research?
To begin with, I amassed a healthy stack of books from the library. Whilst reading, I would take notes and begin drawing my own cryptic diagrams for later reference. I found that the much older books tended to contain quite charming illustrations, which I would scan and study. I also watched a whole bunch of documentaries and DVD extras, and listened to podcasts. Absorbing different types of information helped manifest a much clearer idea of the book within my headspace.
Had I the time to spare, there were a lot of focussed catalogues of information I would have liked to take to the extreme. For example, I began drawing a lot of cinema ticket booths. I really enjoyed how a simplistic and functional cupboard-like room had been reinterpreted in such diverse ways over the last century of cinema architecture. It’s honestly something that’s deserving of its own book!
Q. Your work is quite diagrammatic. What were your main influences as this style progressed?
When I first started out with illustration, I worked frequently with museums and on educational projects. This led me to interpret imagery in what I find is the most literal sense. I like to show the space of things in an easily understood way. The use of clear line has interested me since childhood, having learned to read with the assistance of Hergé’s Adventures of Tintin. I also have a deep fondness for the clarity of illustration present in school exam papers and revision materials.
I find that clarifying an object into a more impartial isometric perspective is very satisfying. The process of repeatedly and obsessively studying an object can be a lot of fun; often the rarer objects can send one down a bizarre rabbit hole of books and websites, just so one can find a better angle of reference… or indeed to go visit a museum solely to see a particular artefact.
Q. If you had the choice to dedicate several pages of this book to just one individual in filmmaking, who would it be and why?
It was incredibly hard not to babble on at length about each filmmaker, and there are so many fantastic lives both in front and behind the lens. I find folk like Jehanne D’Alcy really interesting – as one of the first full-time film actresses, she must have had a really unique experience of the industry, especially during its fledgling years.
Q. Are there any directors or cinematographers whose artistic direction has influenced your own work?
It’s often difficult to put an aesthetic down to one particular person – it’s a team effort after all! But Kazuo Miyagawa and John Alcott are some particular chaps that I find really grand. Many shots in 2001: A Space Odyssey continually amaze me. I am also astounded by the imagery of How the West Was Won. The unique camera trickery that made Cinerama work means that every single frame of information is divided into thirds, which creates a very unique visual language. By most accounts it was a nightmare of a system for everyone involved, but it looked fab.
One of the more trivial details of the book was the need to include furniture and fashion tied to the context of its time period. This included heaps of tangential research that I really enjoyed. In particular I loved looking at 1970s shirts.
Otherwise, the more grand and detailed isometric scenes such as the Vaudeville and orchestral recording were images that I spent a large chunk of time and concentration on. I found it most enjoyable to truly inhabit an imaginary space and flesh it out with believable detail based on various photographic and illustrative references.
Q. If you could do an Illustrated History of anything else, what would you choose and why?
In the intro to An Illustrated History of Filmmaking, I outlined that I deliberately left out animation, as to include it as a tacked-on chapter would have been an absolute disservice to its important role in entertainment. So, I would love to celebrate the history of animation with its own book following much of the same structure, highlighting some of the key folk, events and technology that made it all possible.
Otherwise I have a long list of subjects that I desperately want to conjure into the format of a book. Ufology for one – it would be particularly fun to draw and write about!
We’re so happy to announce that you can now stream the all-new Hilda series on Netflix! Yesterday, creator of the original Hilda graphic novel series Luke Pearson announced the original music by Grimes featured in the title sequence of the Netflix series.
This morning, the Nobrow team in New York screened the first two episodes for 125 kids from Brooklyn schools at the Brooklyn Public Library. The response was a lot of laughter, and questions about “what happens next?”
Sam Arthur, CEO and Co-founder of Nobrow, was excited to say: “Seeing Hilda develop from first sketches to first comic, to first graphic novel series, to TV show airing worldwide on Netflix has been a huge privilege. I’m so proud of what Luke Pearson, Nobrow/Flying Eye, and Silvergate Media have achieved. The last 10 years have been an incredible ride, and I have a feeling it’s just the beginning.”
Check out hildabooks.com for information on getting your own copies of the graphic novels or the first TV tie-in book, Hilda and the Hidden People. And don’t forget to get settled in to watch the entire first season!
Summer’s almost over and kids are headed back to school, and with that, there are new friends to make, and new stories to hear. In Me and My Fear(out now in the UK, US & Canada), a young immigrant girl starts school in her new country and has to face the challenges of making friends, learning a language, and overcoming her companion Fear, who perches on her shoulder every day—trying to keep her safe.
Me and My Fear is based on research that creator Francesca Sanna did in classrooms—asking children to draw their fears and encouraging them to talk about what made them afraid. To accompany this book, we’ve created a classroom guide, complete with activities and levelling information for teachers, students, and librarians to use for this upcoming year. You can download whichever version applies to you at the links below.
We hope that Francesca’s experience working with immigrant children will provide depth to your classrooms and conversations this year!
“I am a very anxious person, and at times when working on this book, my fear would grow too big and grip me too tightly. I would not have succeeded without the precious help of many people. Firstly, I would like to thank each and every child I met in schools and libraries, who was willing to share their fears about being the new one, the different one, the one from another country. They helped keep my own fear from growing too large.”—Francesca Sanna
Praise for The Journey
Many of you know Francesca from her brilliant debut picture book, The Journey. With six starred reviews, and acknowledgement on Best of lists from The New York Times, The Wall Street Journal, School Library Journal, Kirkus Reviews, Publishers Weekly, and the New York Public Library, The Journey moved readers with the illustrated story of a family forced from their homes, gently introducing children to what it means to be a refugee. Now, Francesca brings us into the story of one young girl, overcoming her struggles to feel at home in her new country.
“This heart-stopping, visually sophisticated story of a happy family suddenly forced to flee their home because of war evokes the dark danger of fairy tales to present the stark realities and enduring hope of modern refugees.”
—The New York Times, Notable Children’s Books of 2016
“Direct in language and lush in colorful illustration, this poignant picture book for readers ages 6-10 nurtures compassion for real-life refugees.”
—The Wall Street Journal, The Best Children’s Books of 2016
“The Journey offers a beautiful message to readers — young and old alike — about the difficulties of finding a new home, and the value of welcoming strangers once they arrive.” —The Washington Post
“A necessary, artful, and searing story.” —Kirkus Reviews, STARRED REVIEW
“The innocent voice and dramatic graphic-style illustrations tell a harrowing, haunting, yet hopeful story of a family’s search for a place to call home.” —School Library Journal, Best Picture Books of 2016
“Given the ongoing refugee crisis in Europe and immigration debates in the U.S. and abroad, Sanna’s story is well poised to spark necessary conversations about the costs of war.” —Publisher’s Weekly, STARRED REVIEW
Jérémie Royer’s Schedule, Saturday, September 15th:
Event: Panel – Illuminating Legends
Time: 2:30 PM – 3:30 PM
Location: White Flint Auditorium
Time: 3:30 PM – 4:30 PM
Location: Nobrow Table W76-78
In addition to meeting Jérémie, you’ll also have a chance to pick up one of the first copies of Hilda and the Hidden People at SPX. Just published on September 4th, this book is our very first prose novel based on episodes from the Netflix animated series debuting on September 21st.
SPX will be at the Bethesda North Marriott Hotel & Conference Center (5701 Marinelli Road, North Bethesda, MD 20852), and you can purchase tickets here.
We can’t wait to see you there!
September 15th & 16th
Bethesda North Marriott Hotel & Conference Center
NOBROW TABLE W76-78