The Illustrators Journal : Special International Edition 2020

PETER SIS

"the master"

I had a father who was a filmaker, traveller and a storyteller...and my mother who was a gifted, patient artist. There was no television or internet so I just drew stories of my parents.

I was a quiet kid and grew up in the city of Prague. It all started to change with the news of the Beatles and the pop culture...oh, and there were other influences: a collection of the Sunday Comics from the Chicago newspapers in the '30's. My grandfather brought them from America where he was a railway architect. He designed railways in Cleveland and Chicago. There were also books from America, magazines, records my father brought from his travels.

I do remember seeing the art of Saul Steinberg from an early age. I still love it.

Your style is very unique. Did you work on a style or is that what naturally came out of you?

I never worked on my style. In the High School for The Arts I did not compare well with the students drawing in the "classic realistic" style. The teachers wedre putting me down, which together with adolescence was "deadly". Luckily after that in Art College I had a professor, a great freeform illustrator who took me under his wing.

When did you first think about art as something you wanted to do? Were you encouraged or discouraged by family, friends, teachers, mentors?

I drew and doodled ever since I was a young boy. I was surprised when my father said "You probably want to go to art school" or something like that. I was always encouraged by my parents – they were artists and had artist friends who became mentors of mine. The teachers at school were without imagination...I was in a communist country after all.

What kind of kid were you? Where did you grow up? What were your influences?

I grew up in a dull and grey communist country. But, I

That continued with Quentin Blake in London and after coming to America just observing and trying to fit in.

How did you get started? And how did you progress?

I came to America to make animated films. When that didn't work out I started to illustrate out of necessity....newspapers, magazines and books. The first projects were black and white then color. It just grew and grew - I guess it was the time and I was a novelty. Then the doors got bigger and I was paid more. There was almost no editorial - but, it would've been fun to try. Galleries and big agents seem to come after major recognition. They come and go...it all seems to happen in some organic way. I remember asking art director, Steve Heller after 17 years of drawing for N.Y.T.B.R. almost every week, if I'm not taking the place of some young illustrators. He said you'll know when it's time to go...and it did happen just like that.

How has the advent of the computer affected your work? Do you work traditionally or digitally or both?

I am using tools I'm used to. Pens and brushes fit for my hand. The big problem seems to be with the

the availibilty of old fashion materials – ink, water color paper, paints and pastels. Everybody has gone digital! I am doing most of my art the old-fashioned way. I love to see paint dry. It's therapuetic for me.

Your children’s books are marvelous. Simple yet elegant. How did the way you approach your books come about come about?

Thank you for the kind words about my books. There were quite a few in 35 plus years. I grew up in Czechslovakia which always had (despite the politics) beautiful children's books. I was helped by wonderful people who made my books possible –

(cont.) publishers, editors, art directors. So many things have changed during my "life in books". First black and white, color separation, slowly more and more colors, large size, digital art. So I am really curious about what's to come...

Can you explain a little about the origin and inspiration of Tibet Through The Red Box?

"Tibet Through The Red Box" (I did that years ago!) - and when I look at it today - I think - this is pretty amazing, how did this ever happen? One thing is the story and I was in a hurry to complete the book because my father was diagnosed with cancer. Also when I started books in America I was talking everything out with my dad. He suggested I do a giant cook book and an explorer who went to Tibet and not only collected recipes but also stories ... (My father, who was a film director published a very popular book,"Counting of the Noodles in the Spring Soup" in Prague), so he knew it would work. I did not dare mention it to any publisher,

it just might be an interesting idea. So there I was creating a book – my stories about him and Tibet with lots of artwork and quite amazing layers – and was able to present it to him and the Dalai Lama when it was finished. I think he was happy and his Holiness blessed it. It was possibly my most important book.

What’s does your process entail? Start to finish. Can you give us a short step-by-step?

Process – Story – Write the story or more often draw the story. Get the interest of an editor (who knows me and doesn't think I'm crazy) same with an agent. This process can be swift but also, drag on a long, long time. Once you agree on the size of the book and create a few pieces of art it all starts to fall into place. There are moments when it feels like it's going to be easy, but then comes the time when you are in the middle of the tunnel and cannot see the light on either side. You fix things that come up –- draw, paint, proofs – and then the magical moment when the finished book is ready.

You won more awards since we last talked years ago. You achieved so much what remains on your bucket list? Any ultimate goal?

The awards certainly were not and are not the goal. However, American Publishers use Award-Winning! Best-Selling! or Internationally Acclaimed! But what really matters is the person who really made a neat book.

My ultimate goal would be to really, really let go and do something in simple line so beautiful and so smart just like Sol Steinberg used to do!

What do you do to promote yourself and get more work?

I do not promote myself. I always thought I do not need to but I was wrong, especially since I have received two Lifetime Achievement Awards. Art Directors won't even consider getting in touch. I do not need more work, but I like new challenges.

You can find out more about Peter at http://petersis.com

- Editor