
Slow down drawing: an interview with Ed Vere
Mat Tobin interviews Ed Vere about his work and latest book, The Elephant and the Sea.
Ed Vere is a celebrated illustrator, artist and author whose stories have evolved over the years like no other. From the humorous, lively The Getaway, Banana and Mr Big, to the ideologically rich explorations of the human spirit in his recent books How to be a Lion and the exceptional creative call-to-arms in The Artist. His latest picturebook, The Elephant and the Sea, navigates similarly rich waters, where the protagonist, Gabriel, learns what it takes to fight a tide of rejection and pursue his dreams. In our recent chat, we delved into various intriguing topics—from AI and its threat to the creative voice to the importance of storytelling, his visual literacy work for CLPE’s Power of Pictures and a long-runing project for the Born Free Foundation.
‘The inspiration came from a desire to tell a story that embodies resilience and self-empowerment,’ says Ed. He describes how a vivid image sparked the journey of creating The Elephant and the Sea. ‘I’d drawn an elephant standing steadfast at the end of a jetty, battered by wind and rain. This picture stayed with me and eventually formed the crux of the book. It’s about finding the inner strength to pursue your dreams despite obstacles.’
The setting of The Elephant and the Sea is deeply influenced by Ed’s extended winter stay in a small let in Cornwall. ‘The idea of being surrounded by the sea…the rugged coastline, the beautiful light, alongside the echoes of the fishing communities that once thrived there,’ he recalls. The windswept beaches and dramatic cliffs on the Lizard Peninsula not only provided the perfect backdrop for Gabriel’s story but was also the creative birthplace of The Artist, a manifesto for children’s creative confidence. This emphasis on creativity and self-expression underpins the narrative of both books. In The Elephant and the Sea, Vere’s visual storytelling blends these rich themes seamlessly, using position, colour, line, and tone — alongside beautifully crafted wording — to capture the book’s mood and our attention.
Reflecting on his creative process, Ed notes, ‘If I look back across my books, there’s some consistency, but mainly there is inconsistency. I always want to find a different visual way of telling a story and portraying the world.’ This desire for innovation is evident in his work on The Elephant and the Sea, with his use of mixed media evolving into something that brings the artist and the painter together, using inky lines for the sea and gentle backdrops of Gabriel’s coastal home. Vere explains how his visual style has evolved, spending a lot of time sketching and refining his initial image, ‘trying to combine graphic and painterly elements.’
Discussing his stylistic journey, Ed says, ‘My first picture book, The Getaway, was a visual mash-up combining photographs and bold ink lines. Over time, I’ve become more painterly in my books. There’s still an addiction to the drawn line, but I’ve been bringing in much more painterly elements to try and better capture emotional tone.’ He highlights the detailed and inky sea scenes in The Elephant and the Sea, which capture the movement and emotion of the water.
There were technical challenges to illustrating The Elephant and the Sea too. ‘There were so many iterations, especially with the boat building scenes. I spent hours trying to find a spatial quality that felt right. Overall I hope the book finds the right balance of detail and emotion and breathes life into a character that the audience will love… though drawing an elephant rowing a boat in a stormy sea vortex was a particular challenge.’ This meticulous effort is evident in the rich textures and dynamic compositions that bring the story to life.
Working with his editor Andrea Macdonald and designer Goldy Broad was a crucial part of the process. ‘I’ve had the same designer since The Getaway. Goldy is amazing, and Andrea has been wonderful. It’s always a conversation. I prefer not to have someone telling me what to do, I need to find the truth of my own story,’ he explains. This collaborative approach ensures that the story and illustrations stay true to his vision while benefiting from constructive feedback. ‘Goldy is very frank, which can be tough but is incredibly valuable. You need honesty to help you see what’s working and what genuinely isn’t.’
Vere also emphasises the importance of sharing his creative process with children. ‘It’s important for children to understand that creativity is not about perfectionism, it involves a lot of trial and error. I make many mistakes, and that’s okay. It’s a natural part of finding the best way to tell the story.’ He often shows children his sketches and works in progress to illustrate the iterative nature of creating a book. ‘A book can take years to make, and that time is full of mistakes. It’s good for kids to understand that reflecting on your work, trying again and eventually improving is how writing and art happens in the real world.’ This theme of perseverance and resilience is echoed in Gabriel’s own journey.
‘The main theme is resilience—Gabriel’s journey is about finding his own path and truth, even when it’s lonely,’ Ed explains. ‘It’s also about self-empowerment and pursuing dreams.’ The story encourages children to believe in their own capabilities and to know they can pursue their dreams no matter the challenges.
Discussing the character of Gabriel, Ed adds, ‘That initial image of him steadfast at the end of the jetty with the rain and the wind lashing him is the crux of the book. It’s a message to children and everyone that, at the end of the day, it’s down to you and your will and desire to do something. If you really have a dream, you have to find your inner resources to pursue it. If you care about it enough, you can’t take no for an answer.’ This message of resilience and self-empowerment is a common thread in Ed’s work, as seen in How to be a Lion and The Artist.
Reflecting on the wisdom he gained from spending time with the celebrated illustrator, Jan Pieńkowski, Ed says, ‘I was lucky to have Jan in my life. He never gave advice but often dropped pearls of wisdom. He taught me to notice what’s going on in the world and to draw it because when you draw, you fix it. You’re observing body language and the ‘theatre of life.”’ Jan’s influence is evident in Ed’s emphasis on curiosity, observation, and finding joy in the world around us. ‘One of the things I wanted to say in The Artist was to slow down and notice how much beauty there is in the world. When you draw, it’s an act of slowing down and giving reverence to the world and its beauty.’
When discussing the physically large protagonists that are a recurring theme in Ed’s stories he says, ‘I love Mr. Big because of the response I get from kids. They love him. I think because despite his size, he shows vulnerability. Gabriel grows into a full size elephant, but he’s gentle too and full of humility. Mr. Big is about not fitting in. He’s literally too big to fit in, evoking a sense of clumsiness, which is how a kid might feel when they’re not fitting in.’ This sense of vulnerability invites children to connect with the characters, whilst also trying to broaden ideas about masculinity.’
‘I was a quieter voice at school’ says Ed, ‘When I wrote How to be a Lion I wanted to show that being quiet and thoughtful are strengths. Leonard, a full grown strong lion, makes the choice to also be poetic and compassionate.’ Similarly, Gabriel’s vulnerability and steadfastness make him relatable. ‘In the end, Gabriel’s resilience and quiet, humble determination allow him to find community and achieve his dreams,’ Ed adds, highlighting the character’s journey and ultimate acceptance by others.
Ed’s creative voice continues to evolve, finding new registers and projects to explore. ‘I’ve just finished illustrating a wonderful book of poems by Michael Rosen, which has been an utter privilege and a joy’. This project allowed Ed to delve into new artistic territories, experimenting with different styles and techniques. ‘It’s a profound book, written after Michael’s battle with COVID, touching on themes of family, the Holocaust, and personal mortality. It’s been a wonderful challenge to try to find the right illustration tone for Michael’s words.’
Looking ahead, Ed is excited about continuing to push the boundaries of his craft. He expresses a desire to keep exploring new visual styles and storytelling methods, always aiming to create meaningful and impactful work. ‘Every new project is a chance to find a new way to tell a story … to find new ways to express ideas about the world.’
Ed’s stories strive to teach children that being kind and empathetic is not a weakness but a strength. He feels a responsibility to embed life lessons within the narratives of his books, imparting messages about treating others with kindness and thinking critically. Ed believes in the significant influence that children’s books can have, especially in today’s world, where intolerance and misinformation are rife. ‘While always trying to make a book entertaining, I want to include some gentle life lessons. Making books is a genuine privilege, I want to use that to say something … some form of “this is a good way to be in the world”.’ By subtly weaving these values into his work, Ed hopes to contribute to making a more compassionate and thoughtful society.
Mathew Tobin is a Senior Lecturer in Primary English and Children’s Literature. His co-authored book, Teaching and Understanding Primary English, is published by Sage Publishing, 9781526426598, £24.99.
The Elephant and the Sea by Ed Vere is published by Puffin, 978-0141376400, £7.99 pbk.