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Its a small world Theres a course in Wrexham, north Wales, requiring fieldwork in toy departments, bookshops, primary schools and zoos. On it, artists learn to harness their childhood obsessions and emerge with a portfolio to impress the most jaded of childrens book editors or art directors. The UKs first and only BA in illustration for childrens publishing, now in its fourth year, owes its existence to Sue Thornton. It was her experiences as a lecturer in general illustration that convinced her of the demand for such a specialist degree. I kept hearing publishers complaining that existing art courses were becoming too conceptual, failing to rid students of self-indulgent habits or equip them adequately to meet the industry's needs, she explains. Certainly, my own art training did little to prepare me for survival when I started out as a freelance illustrator.
By contrast, our core aim is to give students a head start in this extremely competitive, multi-million pound business. The course is about to produce its first ex-students and its modular structure has benefited others studying illustration at Wrexham. Some are already winning accolades and, more importantly, work. Lucy Richards, 2001 winner of the &# 163; 1, 000 Hallmark emerging talent award at the New Designers Exhibition, recently completed her first major commission, illustrating the latest Michael Morpurgo for Egmont Press. Its a great course, she says.
While they drum it into you that childrens illustration is very hard to get into, by the end you should have gathered a lot of experience and a substantial portfolio to show editors you are versatile and practical. Thornton's gamble seems to have paid off. Healthy numbers of full- and part-time students have been attracted with minimal publicity. The calibre of students is improving all the time. Having the drawing skills is one thing but they need to be determined and flexible.
It is important to come as free from preconceived ideas as possible, especially as the opportunities nowadays extend far beyond book illustration into animation and multi-media design, she says. Students learn from practising illustrators and publishers on managing accounts, handling briefs and dealing with clients. There are also two self-funded trips to the childrens book fairs in Bologna and New York to study emerging trends. Back home, there are workshops for those also hoping to write childrens books. But the focus is on developing figurative art skills and Thornton has forged strong links with Wrexham's education department to give students access to young people. This year she has set up artist-in-residence schemes at a number of local primary schools.
Final-year student Katie Wheelan is convinced about the importance of observing children: You spot the things kids do that you have forgotten the way they pick their noses, for example, or stick pencils in their ears. Wheelan also admits to spending hours in toyshop's and the childrens sections in bookstores for the same reason. Chester Zoo has been another key venue for students. So what, then, is the secret of good childrens illustration? Avoid being too complex, says Wheelan. Thornton believes that illustrators need to avoid imposing adult conceptions on children.
Humour is particularly tricky, she says. What seems funny can actually be self-indulgent. But this does not mean we dont encourage students to develop their own individuality as artists. They must evolve a style of their own because this is what publishers ultimately require images that carry a unique signature.
For Thornton, the best illustrations are sensitive to the text, avoid giving the plot away and feature characters with personality. According to the courses patron, leading childrens author / illustrator Tony Ross, good childrens books have some kind of X factor and the best take risks: Children are not nice little pets and illustrators need some nerve to enter their world. At the same time he supports the courses appreciation of the business side of the equation. At college it is easy to become single-minded developing ones own talent, but the successful illustrator needs to accommodate the perspectives of publishers, librarians and sales reps and children too. Ross also applauds the New York trip which gives an insight into co-produced UK and overseas editions. Co-production is the life-blood of the industry in this country and students must appreciate the opportunities it offers as well as the constraints.
Pitfalls include images that are too parochial: thatched cottages and peek-a-boo bonnets do not travel well. Toy guns are also a problem and American publishers are very touchy about pictures depicting naked children. For Wheelan, the course is an opportunity to meet people who share her obsession for childrens illustration: It is wonderful finding others in the same state of mind I am convinced that none of us has grown up. &# 183; Applications are usually made through Ucas, but direct entry forms can be requested from the North Wales School of Art and Design on 01978 293502 32 c
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Research essay sample on Primary Schools Childrens Book
