My work often asks, “What is a book?” First came the interactive Press Here, which was radical in its simplicity. For Mix It Up!, I painted with my bare hands—a “no-illustration” illustration. Let’s Play! (2016; all Chronicle) is the return to expressing something with drawing, composition, proportion, and feelings.Guest Blogger: Hervé Tullet
My work often asks, “What is a book?” First came the interactive Press Here, which was radical in its simplicity. For Mix It Up!, I painted with my bare hands—a “no-illustration” illustration. Let’s Play! (2016; all Chronicle) is the return to expressing something with drawing, composition, proportion, and feelings.
When a manuscript comes across my art table there’s always a little bit of terror attached to it. What’s the author trying to relate? How should I approach it? How would a parent, a librarian, and, most important, a child look at my paintings? If, as an artist, I can’t quell some of these questions, they’ll derail the creative process.
Blistery red rashes and hallucinations, lethal germs in food, flea bites that kill— these are all subjects that have captured my attention, and I hope will grab readers’ attention, too. Intriguing medical stories speak to my background in zoology, an interest in history, and experience teaching middle school science. As an author, I get to be a sleuth—searching for hidden details and fascinating images to illustrate my books; I never know what remarkable material I’ll uncover next.
The Trouble in Me (Farrar 2015) is, in part, an answer to the question “How does one go bad?” It’s something I’ve been asked often since the publication of Hole in My Life (Farrar 2002), which features my drug smuggling and life in prison.
One day I vacuumed a fly—by accident! After realizing what had happened, I wondered what the bug was thinking. Did it know it had been vacuumed? Was it upset? Or was it just buzzing around inside the machine, without a care in the world? This is how the idea for Bug in a Vacuum (Tundra Books, 2015) was born.
Look and Be Grateful (Holiday House 2015) is the most unusual project I’ve ever worked on in my 50 years as a children’s book illustrator/author.
Usually, a book starts with an idea that I’ll turn over and over in my head, sometimes letting it pop-up when it wants to, other times, sitting down and forcing myself to get right to it, jotting down notes, maybe making a quick sketch or two–nothing serious, nothing finished, just doodling with words and images.