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Interview with Nicola L. Robinson, illustrator turned author and the trials, tribulations and triumphs of a change of hats!
First off, HEARTY CONGRATULATIONS on the release of “The Monster Machine” with Pavilion Children’s Books – a sort of mad inventor meets Granny’s knitted nightmares joy of a book!
Have you always had a strong visual sense of story?
Yes I have, I’ve always loved drawing (like all illustrators I should imagine!) but particularly loved drawing pictures with something happening in them, be it a big thing chasing a small thing or any kind of interaction between my creations. As a child I’d name the characters and make up stories around them..
I grew up and went to university and did a degree in Fine Art, which was fantastic, but I realised my work was more illustration and less ‘Fine Art’. I have always looked for the story in the picture, and love adding narrative details to things, be it a little mouse hiding behind a teapot or something more sinister watching through a crack in the curtain... I am a visual thinker, but at this point I didn’t consider writing the actual words down to go with the illustrations.
What were your favourite storybook images as a child and how did they influence you as an illustrator and the style you adopted as ‘you’?
I didn’t have many traditional picture books, I did however pour over photos of crocodiles and snakes from a really old book on ‘The Animal Kingdom’. One of my favourite storybooks was a book of Greek Myths which had a lot of colour plates inside of the various mythological beasts and some nice black and white ink illustrations, fairly traditional in style. My favourites were always the ones I could imagine myself being in, something with some perspective, or one where you can see inside an open door or window. I also loved the Hobbit by JRR Tolkien, with Smaug the dragon. I have drawn many dragons since then and continue to do so today.
I have always loved the traditional fairytale illustrators like Arthur Rackham and others like Aubrey Beardsley and more recently Edward Gorey. Black and white ink illustrations in particular have always appealed to me, as has the sinister so I expect I have absorbed a little of their influence into my current working style. I certainly hope so!
Do you have a favourite among your previous illustrative projects? Would you tell us something of the creative process involved in bringing the images to light?
My favourites change all the time, but I am still very attached to a detailed illustration from last year titled ‘Downtown’
It started off like so many drawings as a few scribbles on the page, I could see a cityscape of sorts in my head… I often write lists of words and ideas to include in a piece, little descriptions like ‘Dark alleys’ and ‘Iron Bridges’ just as little word pictures, alongside thumbnails which I find very helpful.
From here it gets its structure and is drawn out. If I’m going to be working in colour I usually stretch some paper at this point before transferring the idea to it.
I work up the details in pencil…
Before going back in with a fine nibbed pen using black waterproof ink to make an underdrawing…
and here I decided I needed to add some life into the scene, I knew the city itself was alive and alert, but it had to be interacting with something, so I re introduced the tiny little figures on the bottom right.
I then add my colour and shading using various materials including pencils, watercolour acrylics and other coloured inks before transferring to Photoshop where I make the final enhancements…
I love collaborating on picture books! Have you been able to collaborate with authors or have the books you have worked on been more a case of the traditional ‘publishers keeping at least an ocean between author and illustrator’? What are your thoughts on collaborating as opposed to working on a project entirely on your own?
I have had a fairly traditional experience so far as an illustrator and have not had much contact with the authors whose work I have illustrated, although there are a few who have connected with me through twitter which has been great. You do wonder whether the author likes what you’ve drawn, and you hope they do, so it is lovely to hear it from them!
I think collaborating is a wonderful way to work the creative process, and a way to bring more creative ideas and experience to the table, being able to communicate directly and discuss ideas with one another has to be a good way to work. Providing you get on well and have harmonious ideas of course!
That being said I can’t deny enjoying being both the author and illustrator for my picture book, for me I found it saved time with regards to putting the book together in that I was the one who could edit both text and pictures simultaneously, which was handy.
When and why did you decide to go it alone as author/illustrator?
I have been illustrating for a good few years now but had not had the opportunity to be considered for a picture book, and I had always wanted to illustrate one, they always look like so much fun. However I hadn’t tailored my portfolio towards this with my work being geared towards an older audience, so I wrote one for myself.
I honestly wasn’t sure how people would take to it though, I had my illustrator hat well and truly screwed onto my head, so it was a bit alien to think of myself as an author too.
Did you do the traditional storyboard for your book?
I did, I had a look at other existing picture books and also had a look online to find out the right format. Square seemed like a good shape, and already suited my machine drawings, and I started drawing lots of little rectangles into my notebook… [see storyboard left] before working out the page breaks and what images I wanted to put on each page with lots of crude little thumbnails like these -
Honestly, how did you find the journey from inspiration to publication? I’m sure other illustrators will be fascinated to get a belated peek over your shoulder into the whole process.
Patience is a virtue, as the journey is not a quick one!
After the initial inspiration had set in and I knew my subject matter, I tackled the words. I knew it was also important to have a book which would read well out loud, so kept rereading it until I was happy.
I then took this along with my thumbnails and rough storyboard and I set about drawing up fairly detailed pencil spreads, and a cover. I picked out a couple of the spreads and worked them up in colour to give the publishers a flavour of how the book would look. I then put it all together into an A4 sized mailer. There is quite a lot of work involved in putting together a manuscript idea to pitch, particularly, when you’re doing the illustrations too.
I researched likely publishers, which I thought may be interested in my work, spent a lot of money on stamps and envelopes and sent them out into the universe. I also discovered the post box on my road has a really small letterbox that day so I had to walk a few miles to the nearest post office to send them off. Lesson learned.
Then came the waiting….
It did cross my mind that as both Author and Illustrator I was in a sense putting all my eggs in one basket. What if the publisher liked my illustrations but hated the story? Or worse, as an illustrator, what if they liked my story but hated my illustrations? Would I have wanted someone else to illustrate it? Probably not…
Fortunately, it wasn’t too long until my publisher contacted me saying they were interested in my work and invited me down to London, which was a wonderful experience, and such a relief to think that someone else likes the idea, something which I have written! After some more waiting, I was finally given the go ahead and contracts were signed. (It is very important to fully understand any contract you go into, if you aren’t sure get some legal advice to make sure you’re absolutely happy with the terms, read all the small print!)
The actual writing and illustrating of the book was the quickest part, I was lucky that I did not need to make too many major changes and I just set about working my way through the book. I submitted all the work ahead of deadline, which was nice, and also gave me some time to work out little extras for the fly pages and a This Book Belongs to page etc.
For me the longest part has been waiting for the actual book to come out, and be ‘published’ which happens a good few months after all the artwork is signed off. I did get my advance copies in the interim which was wonderful! They looked great, and I was really pleased with them. You rarely get your name on the cover unless you’re the author so it was really nice to see it there for once!
One of the most frustrating things has been friends and family and those not in the publishing universe constantly asking about ‘the book’ and other than being able to say ‘it’s on its way’ I haven’t been able to give a satisfactory response yet. But now it’s actually out which is nice! Now they can see for themselves.
I’ve been tempted, from time to time, to illustrate my own book but feel I am a learner artist, not an illustrator of story. It is quite a different skill. I have, on occasion, used illustrator friend’s orphan images to create the story hiding in the image – a sort of collaboration in reverse – a different kind of challenge and creative pleasure. Did you get the image inspiration first or the ‘story’ inspiration? Can you tell us about the evolution of your ‘story’?
Chicken or egg? In this case it was the Machine. I can pinpoint the beginning of the story itself from the day I sat down and sketched a machine.
I love machines so this isn’t unusual for me. I was thinking about the machine and it crossed my mind that the machine would be a machine that makes something, monsters…. it really went from there. I worked backwards from the machine and then forwards from it creating the monsters.
Something which I have enjoyed, which has come from being both author and illustrator is the fact that I can write about things I love to draw, which is great. I love monsters and I love machines. Obviously you hope a good editor will match a manuscript with the perfect illustrator who will love the subject and themes it requires, but in my experience, there is no surer way than writing it yourself.
Finally – what next? Have you anything else ‘on the drawing board’ yet?
There’s always something on ‘the drawing board’ it is a matter of getting the time to coax it out to its full potential! Indeed what next?! I’m currently working on a pop-up book project which is great fun, and getting some ideas for more picture books! I’d love to do another one.
Thank you very much for having me Jennifer!
The Monster Machine has its own website to match the book- www.monstermachine.co.uk
Nicola’s website www.nlrobinson.co.uk