Essential Edition
PREFACE The Beginning of Kokoni Magazine
In 2017, two master of fine art graduates from Edinburgh College of Art established PIED Studio to explore their love for illustrations and designs. In order to share their passion for picturebooks with other people, and to support picturebook creators, they then created Kokoni Magazine, a quarterly published magazine about the art of making picturebooks. In each issue, readers can find interviews of established and emerging picturebook artists, articles about picturebooks, news, new talents' submissions, tips for making picturebooks, step-by-step and games about creating picturebooks. Kokoni means "Here" in Japanese, it means: "no matter who you are, a professional, an emerging illustrator and author, a hobbyist, or a picturebook reader, Kokoni is happy to lead you to admire picturebooks from different perspectives from here, from Kokoni!"
TITLE PAGE Kokoni Magazine
Courage
is what we need to launch a new project, to start a new journey, to try new things, to ask and answer questions, to overcome difficulties, to know yourself, to love and forgive and to make the world a better place.
Editor's Note
Why do I love picturebooks?
by Boris Lee
One day in 2011, I found A Lion in Paris by Beatrice Alemagna in the library. When I started to read the book, I immediately fell in love with its illustrations and the relationship between words and pictures. Before reading it, I had this idea that illustrations and paintings must be realistic or in proportion; but the book widened my horizons. I then became interested in picturebooks and using illustrations to tell stories. I thought A Lion in Paris was the first picturebook that I have ever carefully read, it turned out that I have read many when I was little, and they have a strong influence on me. So, what is a picturebook? Defined by its form, a picturebook could be a combination of serial narrative pictures, with or without words. To me, it is a perfect form as a storytelling method. Yet, I believe, a picturebook is more than just its form. It is simple and small, but also complicated and huge. A picturebook could also be a work of art, a container of various concepts and ideas, a time machine, a bridge that connects readers and the world, a treasure that people could share with each other, or any other things that could inspire our imaginations and encourage us to enjoy our lives from different perspectives. Briefly speaking, there are so many journeys to discover and explore when reading picturebooks, that's why I love them.
Signature
Hazel Dunn: A New Adventure
The Starting Point Hazel Dunn x A New Adventure ---The Mentoring Scheme of Picture Hooks by Boris Lee & Hazel Dunn Images: Hazel Dunn
Picture Hooks is an organisation that supports emerging picturebook illustrators, it provides Mentoring Scheme, conferences a b o u t p i c t u r e b o o k s, e x h i b i t i o n a n d masterclasses. Every year, five emerging illustrators will be chosen to be mentored by five established illustrators for a year. Today, we have the chance to interview one of the five emerging illustrators--- Hazel Dunn, who is not only a picturebook illustrator, but also a printmaker and a textile designer.
Hazel Dunn: A New Adventure
The first time I saw Hazel's artworks at the 2018 Picture Hooks exhibition in the Scottish National Gallery of Modern Art (One), I was immediately captured by her vibrant colour and the simple shapes. The illustrations created a childlike feeling, they made me happy. So I thought, I should invite her to share her experience of Picture Hooks Mentoring Scheme, as well as her ideas about picturebooks!
Kokoni- What made you decide to participate in Picture Hooks? I studied the textile design course at the Glasgow School of Art, with a specialism in print. Whilst studying at art school, I had a tendency to become obsessed with drawing at the beginning of each project, focusing heavily on the subject matter I planned to turn into surface pattern. In my final year I was very interested in narrative, and by graduation, I knew I wanted to pursue it more. My lovely Mum also knew this, so when she stumbled across the Picturehooks website, she sent it my way! It sounded perfect for someone like me - hoping to make a transition into making picture books, but not quite sure where to start. I applied, assuming I wouldn’t be selected, and was very pleasantly surprised when they awarded me a space on the scheme! Kokoni- How does it feel to go into the world of making picturebooks from textile design?
I think there is a lot of crossover between the subject specialisms of illustration and textile design. I have friends who have gone down a similar road to me, and friends who initially studied Illustration but are now transitioning to textile design. Often, a designers’ work lies between these specialisms, which I believe mine does. Having said that, there were many aspects of narrative illustration that were, and still are, completely alien to me! I remain very much in the process of learning about picture book making, and I’m really enjoying it. Alongside studying the practice, it has been interesting to gain knowledge of the publishing industry, which is very different in many ways to the industry of textile design.
Hazel Dunn: A New Adventure
Kokoni- What is the biggest challenge when making a picturebook?
I’m sure challenges vary for everyone, but for me it was challenging working on sequences of illustration as opposed to just single images, or collections of unconnected pattern. Coming from a background in textile design, I am fairly used to planning things like colour, shapes and composition, but I found placing the sequence of images alongside the text particularly tricky, and I think I’m still learning as I go. Another aspect I currently find equally challenging is communicating specific emotions within my characters, and perhaps characterization itself. When working on a style that is purposefully stripped back, it can be difficult to show exactly what you think your characters are feeling whilst retaining simplicity. I have found though, that it’s all getting slightly easier the more I do!
Kokoni- What was the biggest surprise when doing the mentorship? There were many surprises, but along with being awarded the mentorship in the first place, I suppose the biggest surprise may have been how difficult it was to make my first picture book! I perhaps naively didn’t realize what an enormous task it is to undertake. It was also surreal to get to know an illustrator whose drawings I knew from my childhood story times, and to be able to work alongside him. Patrick Benson is a hugely interesting person with a unique insight.
Kokoni- What is your plan after the Picture Hooks scheme? Are you planning to publish picturebooks? I am still working on adding the finishing touches to the project I did for the mentorship, which was more of a personal project and, due to the fact that it’s in Scots, not massively commercial so I don’t expect it to be published. I plan to produce a small batch of the finished book and distribute them amongst friends, family and perhaps some shops in the Scottish Highlands. It was a brilliant way to practice the art of picture book making, and I have lots of new ideas for projects that I’m keen to get started on. It would be marvelous if a book I made got published – but you’ll have to check back in a couple of years for that!
Kokoni- In your opinion, what is a picturebook? A picture book, I suppose, is literally a means to communicate a story through mainly pictures. However, the picture books I collect are multifunctioning. They serve as beautiful objects in themselves – from the weights of paper to inks and printing methods used, and stylization of both imagery and text. They are works of art that communicate moods and messages which are powerful, important, uplifting or even silly, and also provide an essential experience of bonding between a parent and child. Some of my fondest childhood memories are of my parents reading my brothers and me our favourite stories, and I believe what picture books provide is invaluable.
Hazel Dunn: A New Adventure
Pass The Experience Down x Diyala Zada
Diyala Zada
Illustrator and 2D animator Currently studying MA in Children’s Book Illustration at Cambridge School of Art Website: http://www.behance.net/diala-zada Email: diala.zada@hotmail.com Instagram: @diyalazada by Boris Lee & Diyala Zada
But most importantly, I think a picturebook should be enjoyable. Diyala previously worked with publishing houses in Syria, Lebanon, Jordan, UAE, KSA and Qatar. Diyala has different sources of her inspiration, including the news around her, her war-torn country, and human rights. They affect how and what she creates. We are pleased to interview her about being a picturebook creator and dealing with difficulties during creating.
Kokoni- What is a picturebook? To me, a picturebook is a book that is a delight to the eyes in addition to the mind. It’s a story told through pictures displaying the artist’s unique visual language, their style and techniques. All within the reach of our hands, anywhere and at any time.
Kokoni- What is a good picturebook? A good picturebook should have good compositions of pictures and text, smart tonal modeling, and a successful colour palette. Both the book form and the artistic technique should convey their purpose. But most importantly, I think it should be enjoyable. I like “Nasreddine” B y O d i l e We u l e r s s e a n d Rebecca Dautremer.
Kokoni- Why should people read picturebooks? If you’re a parent, picturebooks create a bond between you and your little one. If you’re an illustrator, they can be an inspiration for future work. I think picturebooks can make anyone happy, young or old. It’s like listening to music, or watching a play, or going to an art exhibition.
Kokoni- Why did you become a picturebook creator? I had a passion for drawing at a very young age. I’ve always been fascinated by Disney art and European children’s books. I got encouragement from my family and teachers and continued this passion until I graduated from the Fine Arts Faculty in Damascus. And now I’m specializing in the field by doing an MA in children’s book illustration at Cambridge School of Art. Kokoni- What are your works about? I worked for around seven years as a freelance illustrator with various publishing houses in the Middle East. Like some artists, the news around me affects me. I draw for my war-torn country, for the martyrs, for freedom and human rights. I’m a volunteer illustrator in a magazine for the displaced Syrian children. I’m also a nature lover. I love drawing nature elements and animals. I also have a passion to draw costumes and folklore stories. Any subjects that motivate my imagination, make me learn and search new things are my creative inspirations. Movies, novels, and social media are some of the other resources.
I draw for my war-torn country, for the martyrs, for freedom and human rights. Kokoni- Have you ever encountered any difficulties during making picturebooks? Yes, I had to deal with a client who wanted to enforce modifications on every little detail of the illustrations based on their personal preferences. While, in my opinion, it negatively affected the artwork, it was also very frustrating. I wasted a lot of time writing emails and explaining my point of view instead of focusing on the quality of the artwork.
Kokoni- How would you get along with those situations? I think it’s important to communicate professionally and know exactly what you’re doing as an illustrator/artist.
Kokoni- What is your source of strength to support you making picturebooks when there are frustrating difficulties? I look back at the previous achievements which I’m proud of. I share my thoughts with other illustrators who are experiencing the same frustration a n d w e encourage each other. I take a break watching a series, or making a favourite recipe with a friend.
It’s important to communicate professionally and know exactly what you’re doing as an illustrator/artist.
Picturebooks can make anyone happy, young or old.
Kokoni- Do difficulties inspire you or give you any ideas? Difficulties make me more patient, creative and flexible when dealing with clients. They help me overcome similar situations in different ways later. And they teach me how to make better decisions in the future.
Kokoni- Could you recommend a picturebook which could help you overcome the difficulties? Personally, I recommend Alexis Deacon’s Beegu. This story represents the difficulty of being alien and lonely in an unfamiliar world. I think this can connect to many people around the globe today, such as refugees. As an illustrator, there are always new things to learn from picturebooks such as techniques and layout. I’m currently enjoying Thornhill by Pam Smy.
Chihiro is an emerging picturebook maker from Japan, now she is studying in the UK. She loves “simplicity and naivety” in picturebooks. To her, a picturebook “tells something difficult to say in verbal language by using the voices of pictures.” Moreover, a picturebook is a bridge that connects her and others. When she reads or makes a picturebook, she says, “it helps me to communicate with people and the world.”
Meet The Rising Star x Chihiro Inoue
Chihiro Inoue: Enjoy the Difficulties and Try Something Different. Japanese Illustrator Currently studying MA in Children's Book Illustration Course at Cambridge School of Art. http://chihiroinoue.wordpress.com/ E-mail: chi.inoue.93@gmail.com Instagram: @chihiro__inoue
"I'm interested in narrative with pictures. Sometimes I feel picturebooks are limited in some aspects, but those limitations bring me new ideas at the same time. It is fun for me to experience those moments during making books."
"I always try to strike a good balance between making stories attractive and letting people understand them in limited pages." In her opinion, a good picturebook is “not necessarily based on great messages or educational thoughts.” “I feel delightful when I am touched by a creator's intention or thoughts in a book,” she says. As an example, Chihiro shares a story with us. Japanese picturebook maker Hiroshi Kagakui is one of her favourites, and, “recently I read his books to my little nephew,” Chihiro says, “I found various ideas and kindness in it more than I felt before.”
But why should people read picturebooks? Chihiro thinks “picturebooks are inclusive”. One of the most important elements in a picturebook is picture, and because of pictures, “people of different ages or cultures can enjoy them together,” says Chihiro. “And picturebooks can give people genuine pleasure.”
When making picturebooks, Chihiro wants to make herself more flexible with creation. She always creates her works from different approaches or with different ideas, such as “format, materials, colours, or something else”. “These different starting points bring me new concepts and ways to draw,” she says, “and now I am interested in making books with everyday sketches.”
Although being adaptable to new challenges, there are some difficulties for Chihiro during the process of making books. Sometimes, in order to make stories clearer, picturebook makers have to amend, delete or change scenes and simplify stories. These processes could be confusing and frustrating, “they make me get lost in a maze of pages, often in a solo work situation,” says Chihiro.
To deal with the frustrating moments, Chihiro’s tip is to meet people and show them her artworks. “It reminds me of focusing on the concept of my books,” she says, “and gives me some hints to solve problems.” In other words, people's reactions and advice can save her from narrow-minded, so that she could review her work objectively.
In addition to people’s opinions and reactions, their works (“not only picturebooks!”) motivate Chihiro, too. She also recommends Jon Klassen's works. “Full of ideas and joy in his works may help a creator’s mind!” The other source of strength to support her is the result of her creation. “At the starting point,” she says, “I cannot imagine how my works will become when they are finished, and I’m eager to know it.”