Editorial 142: September 2003
Why is it so difficult to write about the pictures in picture books? Or, indeed, about any kind of illustration? There are those (mostly illustrators) who do it very well, as witness Lauren Child in this issue’s ‘Windows into Illustration’ or Joanna Carey writing about the proposed Quentin Blake Gallery of Illustration. There are also art educators like Martin Salisbury, Course Director for the MA Children’s Book Illustration at APU, Cambridge, who discussed the Greenaway shortlist titles in our last issue, not to speak of those BfK reviewers who have a special interest in picture book art. But most of us who write about children’s books have been trained as words people, not visual people and it shows – the usual picture book review comprises a discussion of the story with a very brief word, if any, about the artwork.
The result is that illustration is simply not criticised enough. Few reviewers have an understanding of the illustrative techniques or indeed the processes whereby an illustrated book is created. There is often no appreciation of the challenges involved in some kinds of illustration and as a result, the prizes can go to cosy and undemanding books.
Alternatively, some artists’ work can be dismissed as ‘simple’ when nothing could be further from the truth. Charlotte Voake, whose Ginger Finds a Home is my Editor’s Choice (see p.21), is a case in point. The front cover hand drawn typography with its quivering tension heralds the delights that are to be found within the book. Her story is beautifully paced and the line and wash artwork achieves a gradual scene setting within which the little girl and the cat are slowly drawn closer. Tension and expectation build in a masterly way until the crescendo when the little cat flees in terror. Voake’s style is freely drawn and unmistakeable; she has a wonderful sense of the page which she uses boldly and clearly to tell her story in a way in which artwork and text interact perfectly. Far from simple!
Our ‘Windows into Illustration’ series continues to provide a fascinating forum in which illustrators are generous in providing an entrée into their visual worlds. Quentin Blake’s laureateship also promoted visual education in its broadest sense and he continues to amaze us with innovative projects. Perhaps one of the initiatives that a Quentin Blake Gallery of Illustration could provide would be writing workshops for reviewers and others keen to develop their skills and understanding.
