Before going into the area of children’s book illustration, I studied textile design in Galway, specialising in embroidery because I love tiny detail. After graduating I worked for various youth and community organisations. I enjoyed working for them and I was often asked to do workshops and create pieces to display in the centres. However, I was beginning to really miss taking the time to focus on a longer creative project. I had been thinking for some time that I would like to move into the area of illustration because I greatly admired master book illustrators like PJ Lynch, Angela Barrett, Eric Ravilious, Arthur Rackham and Nicola Bayley. It also occurred to me that I might improve my skills as an artist if I became an illustrator. I attended a short course in children’s book illustration at the Chelsea College of Art, London. The course was held over 5 days but my tutor, Christyan Fox, covered so much ground that I was able to build on everything I learned once I got home.
I was quite nervous about making a start with the drawing when I came back because I had been given so much advice to absorb. I decided instead to begin by making the copper lantern carousel which is central to the story. It took just over four months to complete but I often find that if I am apprehensive about starting into a new project it really helps if I begin by working with a new medium. I put less pressure on myself when I am trying out something for the first time and it is also a way of being more playful.
I had an idea for the story but I had not drawn for several years. Drawing the horses was a challenge as I was aiming to bring out personality and individuality in each one. It took about six months practising horse drawings before I felt they were strong enough to include in the book. It also took time and patience to develop an illustration style. My favourite medium to draw with is pen and the tutor on the illustration course said I should continue to develop my pen and ink skills and perhaps combine that with another element.
After making the copper lantern I took photographs of the horses and stars that were projected in the dark as well as the object itself. As the story was all about a dying craft, that is central to the Traveller community, I thought it would be much more effective if I could use photographic elements from the real lantern rather than drawing them. I felt that by adding elements of metal the art of tinsmithing would come to life. It took months of experimenting on Photoshop before I got a sense that the mixed-media approach would be effective. I didn’t want to add mixed-media elements to every spread as I really enjoy working with the more traditional pen and watercolour. I decided that the night scenes should have the photographic layers of the stars and horse projections as it would add a magical element. After much experimentation on Photoshop the mixed media elements began to give energy and a touch of magic to the pen and watercolour illustrations. I also added in some collage details to some of the spreads. There are layers of monoprints and bleached paper underneath some of the drawings to add texture.
I had a lot of fun working on the spreads that incorporate photographic elements. One of the most enjoyable spreads, and yet the most difficult to harmonize, is the four vignettes with Uncle Jim using different skills. Vignette 1 and 3 (or the tinsmithing and blacksmithing scenes) have details from the copper lantern. For the first vignette, I wanted to suggest that Jim might be working on the lantern so I used pieces from a photograph of the roof panels before they were pieced together. In the blacksmithing scene, the sparks flying up from the horseshoe, are from the photograph of the lantern stars. In one photograph the stars came out in an amber colour, which was accidental but perfect to use for sparks.
Another spread which I loved working on, but is entirely pen and watercolour, is the Horse Fair scene. This is the moment when there is a change in Sonny. Because I love detail, I could really go to town with this spread. I particularly loved drawing and adding colour to the wagons. Wagons are becoming a much rarer sight at Fairs and I am always excited if I see one at the Ballinasloe Fair. Each one is unique and they are a showcase for artistic skill- from scrolled acanthus leaves to beautiful carved and gilded animals, fruit and birds. Some even have stained glass windows. I came up with my own hybrid versions of these wagons by combining details from different ones that I had seen in reality and in books. I also put the Church (St John the Evangelist) in the distance. It is an iconic landmark for anybody who is familiar with Fair Hill in Ballinasloe and is a little reference to my nearest town.
As this is my first picture book I was extremely lucky to have art direction from Claire Brankin and Elizabeth Goldrick. They both advised me on how to prepare the illustrations for publication. I am hoping that The Horse, the Stars and the Road will be the first picture book of many and that the ones after this will not take me as long to complete!
(c) Lucy Kelly-Desmond
About The Horse, the Stars and the Road:
The other kids in Sonny’s class have cool things to bring into school. Not Sonny. He can’t think of anything really good.
But then Uncle Jim takes Sonny on an amazing road trip – in a horse-drawn wagon. Sonny learns loads of exciting stuff with Uncle Jim, real grown-up skills.
And that’s not all. Sonny’s uncle has made something very special for him. Sonny can’t wait to bring it into school.
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