Daisy Dawes is a freelance children’s illustrator with a background in stop motion animation, which she studied at Plymouth University. Her parents were ceramic artists who nurtured Dawes’s creativity by immersing her in their own creative ventures from an early age.
Inspired by 3D artwork, Dawes began her artistic career combining 3D model making with stop motion animation. After graduating from university, Dawes began working on the set for Harry Potter and the Philosopher’s Stone, creating the windows for Hogwart’s building! After this, she worked on projects such as Pingu, and Rex the Runt, but later began to notice that work in stop motion animation was becoming scarce. Consequently, Dawes began pursuing a more illustration-based career, as she adapted her 3D models for use in children’s books.
The models are beautifully made and are very flexible so can be moved into poses which lend them a life-like quality. Dawes creates props and an entire ‘cast’ of characters which are then photographed and which work seamlessly with her rhyming stories. Her first book, Get Ahead Fred, was published by Maverick Books in 2010, and has been very successful.
Dawes gave a very informative and stimulating lecture, discussing all areas of her career with a great deal of passion and honesty. She offered advice covering all aspects of working as a freelance illustrator, from sources of inspiration (apparently Tim Burton wears stripy socks if he senses a creatively-challenged day ahead!), to legal protection.
Summary of key points:
· Dawes advises illustrators to channel their creativity into many outlets, rather than focusing solely on illustration. Being open to different disciplines keeps work fresh and exciting and allows for unusual ideas to develop.
· As an illustrator and writer for children, Dawes does not believe in belittling or patronising children. She believes that they are receptive to and capable of understanding a wide range of ideas, and Get Ahead Fred does not have formulaic, saccharine ending which is often stereotypical of children’s literature. She writes for everybody and feels that children particularly enjoy grisly stories, and these parts should not be edited or diluted just because the target audience is children.
· Dawes advises that illustrators should consider the influence of technology on the world of books. Books now take different form, for example the introduction of e books and the iPad mean that stories may now be viewed in a non-traditional form and illustration has to be able to meet the new creative demands of such media. She advises illustrators to consider how their work may adapt for use in an electronic format. Publishers are often drawn to versatile and flexible work for this reason.
· Dawes warns illustrators to expect rejection but advises not to feel disheartened by this. She points out that different publishes have different needs and preferences and that trends vary. Something which is rejected tomorrow may well be embraced in six months’ time. She advises illustrators to look for a good long-term match with their publisher, as a strong working relationship is vital.
· Dawes points out that instant success is unlikely, so a balance between illustration work and other paid work may well be essential. She also suggests that illustrators are not ‘picky’ about the work they undertake- take on any commissions which help to develop and expand your career!
· Perseverance and networking are very, very important.
· Dawes suggests that illustrators with a primary interest in working in children’s illustration seek experience spending time with children. She suggests that this is unrivalled in observing how children move, interact with each other which is obviously really useful for character development. She suggests reading to children either at the library or in schools.
· Faith and perseverance are key- business sense can be learnt, a genuine passion and flair for the subject cannot.
· Reading is essential. Read other people’s children’s books, read general fiction, read anything which stimulates creativity and the production of ideas.
· In terms of legal protection, Dawes warns illustrators that it is very difficult to safeguard work entirely. An agent will be able to help in terms of contractual and financial advice, but will obviously require payment! She stipulate that an awareness of rights is very important- be aware that a publisher who has the right to reproduce an illustrator’s work in the UK may well not have the right to reproduce it in the rest of Europe for example.
· Dawes points out that once an illustrator has been published, it becomes easier to find more work. Demand may well increase following the publication of a title.
· Overall, it is important to be enthusiastic, dedicated, passionate and driven. Belief in one’s own work is an attractive quality to potential clients!
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