John Shelley's Blog, page 22
July 3, 2011
JTB Ad Campaign
Japan's biggest tourist company JTB (Japan Tourist Bureau) has just released a promotion campaign featuring this illustration. Starting from 1st July the image is being displayed in posters and other print media in JTB outlets across Japan.
JTB poster. AD: Trout (Koichi Hara), Producer: JTB (Jun Hatsuumi)
It was a memorable job in more ways than one, as I began on the final artwork just as news of the Tohoku earthquake reached us. As I drew cheerful smiling faces for the illustration I watched with horror as shocking and distressing events unfolded in Japan. The tragic irony of this was profoundly saddening, it was a very tough illustration to finish.
Nevertheless having completed the poster and with it's release across Japan, for me personally the image has become a symbol of strength and optimism. In addition to the original concept of a "world of JTB travel" for me it also represents the stoic determination of the Japanese nation. This cheerful image helps to show that across the world people are behind Japan and stand together in unison and support.
Ganbare Nippon!
JTB poster. AD: Trout (Koichi Hara), Producer: JTB (Jun Hatsuumi)
It was a memorable job in more ways than one, as I began on the final artwork just as news of the Tohoku earthquake reached us. As I drew cheerful smiling faces for the illustration I watched with horror as shocking and distressing events unfolded in Japan. The tragic irony of this was profoundly saddening, it was a very tough illustration to finish.
Nevertheless having completed the poster and with it's release across Japan, for me personally the image has become a symbol of strength and optimism. In addition to the original concept of a "world of JTB travel" for me it also represents the stoic determination of the Japanese nation. This cheerful image helps to show that across the world people are behind Japan and stand together in unison and support.
Ganbare Nippon!
June 22, 2011
Scrawlcrawl in Norwich
Yesterday children's illustrators and authors were on the streets of Norwich to sketch, write and be inspired by the city. The event was part of a Europe-wide sketching and live writing event staged by Europe-based members of SCBWI, adapted from the Sketchcrawl concept. Dubbed "Scrawlcrawl", the SCBWI version expands the idea of artists wandering around an area to sketch for a day to include children's writers too.
I organised the first sketchcrawl for British SCBWI in London last year (see my blog entry for 27 November), since when the idea has really taken off in other regions. Yesterday a Europe-wide Solstice Scrawlcrawl was held, with simultaneous events for children's book illustrators and authors taking place in France, Germany, Greece, the Netherlands, Spain and the UK, plus members in other countries walked solo scrawlcrawls without groups. The main UK event took place in London on the Thames south bank, but I thought it would be a great idea to run one in Norwich too.
The Norwich event was free, open to members and non-members of SCBWI, and was well attended, attracting both established professionals and new faces. We gathered in Tombland in the morning and first covered the old town. I'll shortly post a full selection of participants work on the SCBWI Illustrators Blog, here though are all my own images from the day.
I particularly enjoy drawing the interaction of people with their environment, but being an ordinary working day the streets of the old town were largely empty, so in the morning I focused on architecture. My first drawing was a view of Tombland Alley, with it's well-known sloping building. I didn't have time to limber up and get my creative juices running before the event so this first image was perhaps a little fussy, it took a while to really get into my pace. Perhaps I was slightly overawed by the beautiful medieval streets, wanting to be careful I did them full justice.
Tombland Alley
Next was a rear view of one of the iconic buildings in Elm Hill. It was very tempting to draw the shop fronts, but they've been visualised so many times by hundreds of artists, I wanted to avoid the trap of rendering tourist scenes. The view behind the buildings on the other hand is a jumbled clutter of historic periods, reflecting how the formerly run-down medieval street was saved from demolition in the 1920's. I began this with a pencil drawing, intending to just drop in a light wash of colour, but as often happens with me the paint took over and buried the under drawing, one reason I tend to prefer pen and ink over pencil for sketching!
Back of cottages, Elm Hill.
Time had passed much quicker than intended and I only managed one more drawing of the river before lunch.
River Wensum from Elm Hill looking towards the Art School
More participants joined us as we lunched in the top garden of the ancient (built c.1420) Briton's Arms on Elm Hill. Amongst the chatter I was able to pull off a very quick portrait.
In the afternoon the group spread out around Norwich Cathedral. I found the cathedral a rich source of subject matter, with it's interplay of light and shadows, textures and architectural details. The position of visitors within this environment suggested many narrative themes, both for stories and images.
This rather frail looking tour guide appeared almost monolithic as he was rendered almost completely in silhouette by the light from the West Door, which my scribble only partly indicates.
Aged Tour Guide near the West Door
In a similar way I was attracted to this scene as the shadowed screen door frames the figures. In reality several people passed through the door while I was drawing, but this mother and child lingered just long enough for me to loosely scribble them down.
Screen leading onto the South Trancept
The cloisters could only be given full justice by using both sides of the sketchbook, and, conscious of how I lost the drawing in my previous painting in the morning, I drew it in pen and ink before slapping on some watercolour.
The Cloisters
The tombs are easy of course - perfect models who stay perfectly still for you...
Tomb of John Pelham
Finally another tour guide and just one of several eager listeners. This long-haired man stood staring at the floor like this for ages, I thought "if you're going to stand like that, I'll have to draw you" He did, so I did.
Another Tour Guide and fascinated visitor
All too soon time was up, I had to run off to collect my daughter from school, though the weather was gloriously warm and with daylight until after 9.00pm we could have continued for several hours more. Thanks to everyone who turned up, it was a great day enjoyed I think by everyone there. I fully intend to organize more events for children's authors and illustrators in Norwich, if you're local do get in touch.
See the Europe Solstice Scrawlcrawl blog for reports from across Europe on the day.
I organised the first sketchcrawl for British SCBWI in London last year (see my blog entry for 27 November), since when the idea has really taken off in other regions. Yesterday a Europe-wide Solstice Scrawlcrawl was held, with simultaneous events for children's book illustrators and authors taking place in France, Germany, Greece, the Netherlands, Spain and the UK, plus members in other countries walked solo scrawlcrawls without groups. The main UK event took place in London on the Thames south bank, but I thought it would be a great idea to run one in Norwich too.
The Norwich event was free, open to members and non-members of SCBWI, and was well attended, attracting both established professionals and new faces. We gathered in Tombland in the morning and first covered the old town. I'll shortly post a full selection of participants work on the SCBWI Illustrators Blog, here though are all my own images from the day.
I particularly enjoy drawing the interaction of people with their environment, but being an ordinary working day the streets of the old town were largely empty, so in the morning I focused on architecture. My first drawing was a view of Tombland Alley, with it's well-known sloping building. I didn't have time to limber up and get my creative juices running before the event so this first image was perhaps a little fussy, it took a while to really get into my pace. Perhaps I was slightly overawed by the beautiful medieval streets, wanting to be careful I did them full justice.
Tombland Alley
Next was a rear view of one of the iconic buildings in Elm Hill. It was very tempting to draw the shop fronts, but they've been visualised so many times by hundreds of artists, I wanted to avoid the trap of rendering tourist scenes. The view behind the buildings on the other hand is a jumbled clutter of historic periods, reflecting how the formerly run-down medieval street was saved from demolition in the 1920's. I began this with a pencil drawing, intending to just drop in a light wash of colour, but as often happens with me the paint took over and buried the under drawing, one reason I tend to prefer pen and ink over pencil for sketching!
Back of cottages, Elm Hill.
Time had passed much quicker than intended and I only managed one more drawing of the river before lunch.
River Wensum from Elm Hill looking towards the Art School
More participants joined us as we lunched in the top garden of the ancient (built c.1420) Briton's Arms on Elm Hill. Amongst the chatter I was able to pull off a very quick portrait.
In the afternoon the group spread out around Norwich Cathedral. I found the cathedral a rich source of subject matter, with it's interplay of light and shadows, textures and architectural details. The position of visitors within this environment suggested many narrative themes, both for stories and images.
This rather frail looking tour guide appeared almost monolithic as he was rendered almost completely in silhouette by the light from the West Door, which my scribble only partly indicates.
Aged Tour Guide near the West Door
In a similar way I was attracted to this scene as the shadowed screen door frames the figures. In reality several people passed through the door while I was drawing, but this mother and child lingered just long enough for me to loosely scribble them down.
Screen leading onto the South Trancept
The cloisters could only be given full justice by using both sides of the sketchbook, and, conscious of how I lost the drawing in my previous painting in the morning, I drew it in pen and ink before slapping on some watercolour.
The Cloisters
The tombs are easy of course - perfect models who stay perfectly still for you...
Tomb of John Pelham
Finally another tour guide and just one of several eager listeners. This long-haired man stood staring at the floor like this for ages, I thought "if you're going to stand like that, I'll have to draw you" He did, so I did.
Another Tour Guide and fascinated visitor
All too soon time was up, I had to run off to collect my daughter from school, though the weather was gloriously warm and with daylight until after 9.00pm we could have continued for several hours more. Thanks to everyone who turned up, it was a great day enjoyed I think by everyone there. I fully intend to organize more events for children's authors and illustrators in Norwich, if you're local do get in touch.
See the Europe Solstice Scrawlcrawl blog for reports from across Europe on the day.
June 12, 2011
ICBA presentation
Recently I gave a talk in London at the Japan Foundation for the UK branch of the International Children's Bunko Association.
The ICBA is a volunteer organization which provides Japanese language books and other materials like kamishibai for independent children's library reading groups (called bunko) in various countries across the world. The UK branch has been running since the mid 1970's and maintains many bunko groups in locations across the country.
Some of my books on display
beginning of event (photo: Masami Atkinson)
I was originally scheduled to give a talk to the ICBA nearly two years ago but had to cancel at the last minute after falling ill, so this rescheduling had been planned for a long time. It was a greatly enjoyable and memorable event, not least because the fire alarm went off half way through my talk obliging everyone to temporarily evacuate the building. Fortunately it was a false alarm and I just carried on where I'd left off.
"kono kimochi desu...."
We talked about illustration, my books and my career in Japan and elsewhere, I hope everyone could follow my meandering Japanese, I was worried I'd be a little rusty! After the event attendees enjoyed delicious home-made snacks brought in by participants.
At the end I was presented with some beautiful books by Yoko Morishima
I'm very grateful to everyone who came to the event, special thanks to the organisers Masami Atkinson and Yoko Morishima. Thanks also to Miwa Naughton for kindly allowing me to reproduce her photos.
The ICBA is a volunteer organization which provides Japanese language books and other materials like kamishibai for independent children's library reading groups (called bunko) in various countries across the world. The UK branch has been running since the mid 1970's and maintains many bunko groups in locations across the country.
Some of my books on display
beginning of event (photo: Masami Atkinson)
I was originally scheduled to give a talk to the ICBA nearly two years ago but had to cancel at the last minute after falling ill, so this rescheduling had been planned for a long time. It was a greatly enjoyable and memorable event, not least because the fire alarm went off half way through my talk obliging everyone to temporarily evacuate the building. Fortunately it was a false alarm and I just carried on where I'd left off.
"kono kimochi desu...."
We talked about illustration, my books and my career in Japan and elsewhere, I hope everyone could follow my meandering Japanese, I was worried I'd be a little rusty! After the event attendees enjoyed delicious home-made snacks brought in by participants.
At the end I was presented with some beautiful books by Yoko Morishima
I'm very grateful to everyone who came to the event, special thanks to the organisers Masami Atkinson and Yoko Morishima. Thanks also to Miwa Naughton for kindly allowing me to reproduce her photos.
June 6, 2011
back from a sabbatical
I've been extremely quiet on the blog these last couple of months for which I offer wholehearted apologies. Since moving away from London there's been a lot of adjustment, finding school for my daughter, settling down etc, with a consequent backlog of things I need to catch up with. All in all it's taken me a while to get back into the swing of things so I decided on a self-imposed shut down from social media... only essential emailing, limited Facebook and Twitter, in the hope that it allows me to achieve more work.
Yes I've been thankfully very busy since re-settling in Norfolk. In addition there have been many things occupying my mind, not least the awful news from Japan. Having spent nearly half my life in Tokyo Japan is very much like home, so the news reports and developments have been particularly emotional for me. I experienced many earthquakes over the 21 years I was there, though nothing on the scale of the events in March of course. Though it's of little comfort, it seems that no-one in my immediate circle in Japan were hurt in the earthquake, however many are suffering in the after effects, especially under the dark shadow of the Fukushima emergency. No-one has been left untouched by developments. Some of my clients in Tokyo have expressed candid despair at the future of the country, however it seems everyone is pulling together and carrying on with determination.
My heart goes out to all those who have suffered. My thoughts are with my friends, associates and others in the country.
Yes I've been thankfully very busy since re-settling in Norfolk. In addition there have been many things occupying my mind, not least the awful news from Japan. Having spent nearly half my life in Tokyo Japan is very much like home, so the news reports and developments have been particularly emotional for me. I experienced many earthquakes over the 21 years I was there, though nothing on the scale of the events in March of course. Though it's of little comfort, it seems that no-one in my immediate circle in Japan were hurt in the earthquake, however many are suffering in the after effects, especially under the dark shadow of the Fukushima emergency. No-one has been left untouched by developments. Some of my clients in Tokyo have expressed candid despair at the future of the country, however it seems everyone is pulling together and carrying on with determination.
My heart goes out to all those who have suffered. My thoughts are with my friends, associates and others in the country.
February 26, 2011
Idea bashing
It's been a while since I posted some sketches, so I thought I'd show how I work on ideas when, as often in illustration, the concept or "brief" is decided by the client, but visual interpretation is up to me. As an example I'll show how I came up with the idea for my recent house-moving image.
The house-move picture was a self-assigned brief so there was no real time limit, but often with jobs I'm on a tight deadline and sometimes don't have the opportunity to really work on lots of ideas. However for any given concept based illustration I try to come up with at least two, preferably three or four workable ideas, loosely scribbled in my larger desktop sketchbook, or doodled in my pocket notebook if I'm hit by inspiration outside. Often I'll fill two or three A4 pages with small thumbnail idea notes. The best are selected and made into presentable sketches to show the client. Based on their response I then make adaptations or proceed onto final artwork.
So, the brief is "House & studio move from one town to another, by crazy illustrator John and daughter Seren". Sometimes I start by writing down all the visual key words I can think of to describe the brief, though in this case they were imprinted on my mind anyway: [town] [building] [move] [upheaval] [transport] [artist] [John & Seren] [A to B] [studio] [belongings] [art equipment] [father & daughter] [home]... and so on.
By mentally combining these words into visual couplings they begin to interact into playful ideas, like so:
The first ideas were somewhat obvious, but as one sketch led onto another, gradually became more whimsical...
Still, I wasn't altogether comfortable showing straight representations of Seren and myself. Then a simple little idea popped up from a succession of associations [Home = nest] [nest = twigs] [twigs = pencils!]
The idea was worked on, more interaction between the parent & chick (me & daughter of course), removal of extraneous bits...
This was traced on a light box to drawing paper, and all is ready for Stage 2: the finished drawing.
The house-move picture was a self-assigned brief so there was no real time limit, but often with jobs I'm on a tight deadline and sometimes don't have the opportunity to really work on lots of ideas. However for any given concept based illustration I try to come up with at least two, preferably three or four workable ideas, loosely scribbled in my larger desktop sketchbook, or doodled in my pocket notebook if I'm hit by inspiration outside. Often I'll fill two or three A4 pages with small thumbnail idea notes. The best are selected and made into presentable sketches to show the client. Based on their response I then make adaptations or proceed onto final artwork.
So, the brief is "House & studio move from one town to another, by crazy illustrator John and daughter Seren". Sometimes I start by writing down all the visual key words I can think of to describe the brief, though in this case they were imprinted on my mind anyway: [town] [building] [move] [upheaval] [transport] [artist] [John & Seren] [A to B] [studio] [belongings] [art equipment] [father & daughter] [home]... and so on.
By mentally combining these words into visual couplings they begin to interact into playful ideas, like so:
The first ideas were somewhat obvious, but as one sketch led onto another, gradually became more whimsical...
Still, I wasn't altogether comfortable showing straight representations of Seren and myself. Then a simple little idea popped up from a succession of associations [Home = nest] [nest = twigs] [twigs = pencils!]
The idea was worked on, more interaction between the parent & chick (me & daughter of course), removal of extraneous bits...
This was traced on a light box to drawing paper, and all is ready for Stage 2: the finished drawing.
February 24, 2011
Happy Birthday Seren!
Eight years old today, hooray hooray hooray!
February 21, 2011
Sunrise Land
I've been pretty quiet on the blog due to another shift of base, this time away from the vicissitudes of London to the gentler climes of Norwich, the jewel city of East Anglia.
There are a number of reasons why I've headed out here, one of them is familiarity with the city (my parents lived here for many years).
My strongest memories of Norwich are rooted in the early 1980's straight after I graduated when I spent two blissful years in the city, roaming the profusion of antiquarian/second hand bookshops, running a local rock fanzine The Blue Blanket and playing miniature wargames with my local mates. That was a long time ago, my old friends have moved on to pastures new and much has changed in the city. Many of my old haunts have been replaced by lifestyle select shops and fashionable cafe's, but these in their turn add a charm to the city in a whole new way. The back streets of Norwich are full of curious little corners, 1990's boom-years development is everywhere in evidence, though recession could mean this all changes very soon.
I'm somewhat less convinced by the need for not one, but two major shopping centres. The first, Castle Mall, opened in the 1990's on the site of the old cattle market and was heralded as a model of integrated design. Nevertheless it's since been overshadowed by the rival new Chapelfield centre, which replaces the old Nestlé-Rowntree factory. There are so many shops in Norwich now it's bewildering, I wonder whether the city has the population to maintain this. Fortunately the character of the town has not only survived, but on the whole seems enhanced by these changes. The Riverside development along the banks of the Wensum has replaced ugly old factory buildings (Boulton Paul, Colemans) with expensive integrated apartment blocks that make the area positively desirable. Several post-war eyesores have been replaced, though Magdalene Street, formerly one of the most historical streets in the city until ravaged by 1970's developers is still stuck with it's awful concrete nightmare Anglia Square.
Sipping my Latte in the Forum cafe, overlooking the elaborate architecture of St.Peter Mancroft Church I'm overwhelmed with the excitement of re-discovery, even though I only lived in Norwich for a short time before pursuing my career on other horizons. Back in those days there was little in the city to offer an illustration graduate. "Get you down to London" was the advice of the careers officer at the time, and to London I went. Now however the opposite is the case. The internet has freed artists from the need to commute into the centre of the urban capital. A good broadband connection keeps me in touch with everyone, and when I need to see people London is a mere 2 hour train journey away.
There's much to attract me to Norwich today. I still have family here. The convenience (we live 5 minutes walk from the city centre). The harmonious balance of history and modern living, tradition and the new. The deep literary heritage. The excellent library services, which survived the burning down of the central library in the 1990's only to re-emerge stronger than ever within the Forum development. The international airport making the city a short hop to Europe and hence beyond. For myself and my daughter it seems the perfect fit, the perfect size for us non-drivers. So far at least it's been a warm "homecoming".
There are a number of reasons why I've headed out here, one of them is familiarity with the city (my parents lived here for many years).
My strongest memories of Norwich are rooted in the early 1980's straight after I graduated when I spent two blissful years in the city, roaming the profusion of antiquarian/second hand bookshops, running a local rock fanzine The Blue Blanket and playing miniature wargames with my local mates. That was a long time ago, my old friends have moved on to pastures new and much has changed in the city. Many of my old haunts have been replaced by lifestyle select shops and fashionable cafe's, but these in their turn add a charm to the city in a whole new way. The back streets of Norwich are full of curious little corners, 1990's boom-years development is everywhere in evidence, though recession could mean this all changes very soon.
I'm somewhat less convinced by the need for not one, but two major shopping centres. The first, Castle Mall, opened in the 1990's on the site of the old cattle market and was heralded as a model of integrated design. Nevertheless it's since been overshadowed by the rival new Chapelfield centre, which replaces the old Nestlé-Rowntree factory. There are so many shops in Norwich now it's bewildering, I wonder whether the city has the population to maintain this. Fortunately the character of the town has not only survived, but on the whole seems enhanced by these changes. The Riverside development along the banks of the Wensum has replaced ugly old factory buildings (Boulton Paul, Colemans) with expensive integrated apartment blocks that make the area positively desirable. Several post-war eyesores have been replaced, though Magdalene Street, formerly one of the most historical streets in the city until ravaged by 1970's developers is still stuck with it's awful concrete nightmare Anglia Square.
Sipping my Latte in the Forum cafe, overlooking the elaborate architecture of St.Peter Mancroft Church I'm overwhelmed with the excitement of re-discovery, even though I only lived in Norwich for a short time before pursuing my career on other horizons. Back in those days there was little in the city to offer an illustration graduate. "Get you down to London" was the advice of the careers officer at the time, and to London I went. Now however the opposite is the case. The internet has freed artists from the need to commute into the centre of the urban capital. A good broadband connection keeps me in touch with everyone, and when I need to see people London is a mere 2 hour train journey away.
There's much to attract me to Norwich today. I still have family here. The convenience (we live 5 minutes walk from the city centre). The harmonious balance of history and modern living, tradition and the new. The deep literary heritage. The excellent library services, which survived the burning down of the central library in the 1990's only to re-emerge stronger than ever within the Forum development. The international airport making the city a short hop to Europe and hence beyond. For myself and my daughter it seems the perfect fit, the perfect size for us non-drivers. So far at least it's been a warm "homecoming".
January 4, 2011
Happy New Year of the Bunny
Wishing everyone a peaceful and successful 2011!
December 22, 2010
Merry Christmas
Joyful cheer and festive felicitations to all my friends and readers!
December 14, 2010
Salon du Livre
The SCBWI Conference coincided with the children's book fair Salon du Livre et de la Presse Jeunesse, running from 1st-6th December in the Parisian suburb of Montreuil.
Ground Floor of the Fair
This was my debut at this fair. Though I'm perhaps a bit of a Bologna Veteran now, this was something else altogether. I found it an incredibly rewarding, though exhausting experience. The sheer number of stands at the Fair alone was amazing considering it only covered one area of publishing of a single nation, two large floors and an exhibition hall were tightly packed with every genre of children's literature imaginable. All together there were 292 stands, plus an animation theatre, lecture hall and other smaller associated events. Children's publishing in France is very dynamic!
The Rouergue Stand
French publishers can pull this off because on the one hand there is there a strong graphic tradition in the country that supports sophisticated picture books. But also the Fair, unlike the LBF and Bologna, is not just about professional deals, the books are all on sale to the public. The first day I attended was the 'open' day and was absolutely packed with people of all ages, though I can't say I noticed any significant decrease in numbers on the subsequent professional-only day! Because of this the Salon du Livre is a book festival as much as a trade fair. It was all very lively and inspiring, it was marvelous to see how creators, publishers and public are drawn together in such a vibrant way.
Signing Illustrators
Virtually every stand ran illustrator signing sessions, there were an incredible 1,153 illustrators signing over the 6 days of the fair, many of them in multiple events, some repeatedly at more than one publisher stand. To call them 'signings' though is a misnomer, illustrators were there to create on the spot fully rendered original drawings (and sometimes paintings), embellishing the title pages with artwork as well as signing. Buy the book (sometimes with freebies like posters etc thrown in), talk to the creators, get it signed and illustrated with original art. What an incredibly inspiring way to encourage books and reading!
Most of the artists and all of the books were French, but a few creators from other countries also contributed, including SCBWI members Constanze Von Kitzing (from Germany) and SCBWI's International Illustrator Coordinator Bridget Strevens-Marzo, who ran two signing sessions on the Bayard Jeunesse stand. I know how exhausted she was at the end!
Clotilde Perrin's dedication to my daughter
And of course, there were the books. There were far too many to absorb everything in the two all-too brief days I attended, several I fell in love with and intended to go back to buy later, but didn't get chance. As well as familiar names seen at Bologna I was particularly impressed with Editions Sarbacane, Editions du Rouergue and l'Atelier du Poisson Soluble, all producing very fine and often uniquely innovative and sophisicated titles. In the end I only bought one book - Tout Autour de Moi (All Around Me) by Clotilde Perrin, a beautifully rendered chaotic dream fantasy, from the very busy stand of Rue du Monde. Fabulous work!
copyright: Clotilde Perrin & Rue du Monde
Will I go back to the Fair again? Definitely, given the chance. Next time hopefully a little more prepared!
Ground Floor of the Fair
This was my debut at this fair. Though I'm perhaps a bit of a Bologna Veteran now, this was something else altogether. I found it an incredibly rewarding, though exhausting experience. The sheer number of stands at the Fair alone was amazing considering it only covered one area of publishing of a single nation, two large floors and an exhibition hall were tightly packed with every genre of children's literature imaginable. All together there were 292 stands, plus an animation theatre, lecture hall and other smaller associated events. Children's publishing in France is very dynamic!
The Rouergue Stand
French publishers can pull this off because on the one hand there is there a strong graphic tradition in the country that supports sophisticated picture books. But also the Fair, unlike the LBF and Bologna, is not just about professional deals, the books are all on sale to the public. The first day I attended was the 'open' day and was absolutely packed with people of all ages, though I can't say I noticed any significant decrease in numbers on the subsequent professional-only day! Because of this the Salon du Livre is a book festival as much as a trade fair. It was all very lively and inspiring, it was marvelous to see how creators, publishers and public are drawn together in such a vibrant way.
Signing Illustrators
Virtually every stand ran illustrator signing sessions, there were an incredible 1,153 illustrators signing over the 6 days of the fair, many of them in multiple events, some repeatedly at more than one publisher stand. To call them 'signings' though is a misnomer, illustrators were there to create on the spot fully rendered original drawings (and sometimes paintings), embellishing the title pages with artwork as well as signing. Buy the book (sometimes with freebies like posters etc thrown in), talk to the creators, get it signed and illustrated with original art. What an incredibly inspiring way to encourage books and reading!
Most of the artists and all of the books were French, but a few creators from other countries also contributed, including SCBWI members Constanze Von Kitzing (from Germany) and SCBWI's International Illustrator Coordinator Bridget Strevens-Marzo, who ran two signing sessions on the Bayard Jeunesse stand. I know how exhausted she was at the end!
Clotilde Perrin's dedication to my daughter
And of course, there were the books. There were far too many to absorb everything in the two all-too brief days I attended, several I fell in love with and intended to go back to buy later, but didn't get chance. As well as familiar names seen at Bologna I was particularly impressed with Editions Sarbacane, Editions du Rouergue and l'Atelier du Poisson Soluble, all producing very fine and often uniquely innovative and sophisicated titles. In the end I only bought one book - Tout Autour de Moi (All Around Me) by Clotilde Perrin, a beautifully rendered chaotic dream fantasy, from the very busy stand of Rue du Monde. Fabulous work!
copyright: Clotilde Perrin & Rue du Monde
Will I go back to the Fair again? Definitely, given the chance. Next time hopefully a little more prepared!
