Flip Animation "L"

A mad Englishman rambles on about himself.

A long long time ago, in a city in the grim north of Old Blighty, l studied illustration and photography and went on to become an artist for Hallmark. Yes fluffy rabbits and bears, and airbrush cars and planes, after a few years of that l ran away to New Zealand to do lots of sailing with friends, and happened across a little animation studio called Toonz, who were contracting to Disney TV, among others, turns out they were desperate for a background artist, one of them had tunnelled his way out. So l was kidnapped by Toonz for two years, before the world famous Steve Moore was sent from LA to free the hopeless background artist, with the help of his secret super powers. (SHUSSSS! Superman has nothing on Steve.)

I did love working in backgrounds and would still be doing it if there were the work in the UK. But it did teach me all about storyboarding and the construction of an animated show and a picture book is very similar.

I started out illustrating children books, but was soon invited to try writing some stories for Random House in London. This seems to have been a good move, as once I had learned how to read and write, I was almost good at it. Now ten years on and fourteen titles under my belt, its not getting any easier.

It wasn't a conscious move towards the very young end of the children's book market, but seemed to be a good place to start and learn the business. As time goes on, I seem to set myself new targets and who knows were this will lead.

As well as my bookwork I also lecture at The Goldsmiths Institute at London University, on how to create a children's book. I also teach life drawing at a local college in Cambridge, which has always been a real passion for me. Who knows, maybe I will give it all up one day to become a real artist.

The main difference between the animation and publishing business is that you are a freelancer, and usually working from home or a private studio, which takes some getting used to and often making a coffee can take hours and hours, and in the early years cabin fever was a real problem.

I do believe that having a willing and understanding editor is the key to getting your ideas turned into a children's book, many of the books I write are well edited as I do tend to get carried away at the start. But I do prefer to storyboard my books before I even write a single line, I write lists of book titles first as they can often inspire a whole story.

My biggest influence has to be Quentin Blake with his wonderfully expressive illustration, but every time I go to a book shop I fall head over heels with a new artist, and wish I could only be as clever and innovative as they are. This is a very good way of keeping you on your very humble toes.

There are groups you can join as an illustrator such as AOI (Association Of Illustrators) that keep you informed of events and chit-chats. However, most authors and illustrator are hermit- like and often hide in tall trees and under stones when they see other people, or bright lights. I, myself, have even been known to wear a disguise.

To all would-be illustrators I would say that variety is the spice of life, and the more publishers you can work for, the better chance you have at being busy, and don't be afraid to try new things and listen to your editor, they might just know something.

Being Daddy to two little girls is a huge influence in my work. I have spent the last three years writing under the pen name of Maddy Rose producing a series called 'The Adventures of Pinkie', writing about a sassy lassie who lives in a lighthouse. It has been a fantastic way of getting my girls interested in reading and even being interested in the work I do. All in all, it's a wonderful way to earn a living and changes with every new book. So never gets boring, unless you let it!