A Quote by Tony DiTerlizzi
Balancing an illustrator and author can be tricky, but I was an illustrator mostly before I wrote my books.
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Usually, an author writes a manuscript that is handed in to the editor. The editor will then work with an art director to find just the right illustrator for the job, and off they go. Many times, the illustrator and author never meet.
I have learned patience, for sure. Pre-publication is a long waiting game, especially for authors of picture books. We write the manuscript, sign the contract, and wait. It takes a while for the art director to find an illustrator and then the illustrator works on the sketches, and depending on those first round of sketches, it could be a few more months before you see a final illustration. I was surprised at how long it takes for all the pieces to come together.
I don't think there's an illustrator who's as good as a Titian or a Rembrandt... but then, Rembrandt was a bit of an illustrator on the quiet, you know?
When I illustrate a cover or a book, I draw upon what the author tells me; that's how I see my responsibility as an illustrator. J.K. Rowling is very descriptive in her writing — she gives an illustrator a lot to work with. Each story is packed full of rich visual descriptions of the atmosphere, the mood, the setting, and all the different creatures and people. She makes it easy for me. The images just develop as I sketch and retrace until it feels right and matches her vision.
I am an author-illustrator of children's books - and yet - I must confess I don't do the books for the kids. When I'm working on a book I'm somewhere else - at the circus - or a rustic old farm - or deep in a forest - with no thought of who might read the book or what age group it would appeal to. I write them so I can illustrate them.
I do believe this to be the over-arching philosophy behind most of the books I've fallen in love with over the years. The more personal and heartfelt the story is for the author and/or illustrator of the book, the more universal the emotion that can be gleaned from it.
The great children's author and illustrator Shirley Hughes marks her 90th birthday by appearing as Michael Berkeley's guest in 'Private Passions'.
I was going to be a storybook illustrator or an editorial illustrator. I ended up in a comics class by mistake because all the others were full, so I was like 'I'll stay for one class, and then I'll go take something else, because I don't care about comics.' I got pulled in really fast; I discovered I had a voice in comics that I didn't know I had.
I wrote 'And Two Boys Booed' several years ago, but we really chased around looking for the perfect illustrator, so it took a while.
My mom was a biological illustrator for a time before computers replaced that job.
Before that I wanted to be a magazine illustrator - I probably would have painted Gothic scenes.
My husband wrote the story for my first book, but then he didn't want to do that anymore. So if I was going to go on being an illustrator, I had to start writing the stories, too.
I grew up in Nagpur, and I first started enjoying the author Harishankar Parsai. He wrote mostly satire, essays on the current situation and social issues. He wrote many books and I think he was my first influence.
My father spent his entire early career as an illustrator for comic books: EC Comics like 'Tales from the Crypt' and 'Creepshow,' then moving on to such magazines as 'Mad' and 'Weird Science.'
I wanted to do comic books... as a comic book artist, as an illustrator. But I'm not very good so I thought I should do something else! So I went to a film school when I was seventeen and came out when I was nineteen.
I'm an illustrator. I have to accept my role.
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