We are delighted to welcome Polly Dunbar to the blog to talk about her illustration, theatre and working on her new book with Mihael Morpurgo, Owl or Pussycat?

Can you introduce yourself please?

Hello my name is Polly Dunbar, I am a children’s author and illustrator. Not only have I always loved drawing but since being in school plays as a child I have a passion for theatre. it became very apparent as I grew up that I was better at illustrating than I am at acting (I’m a terrible singer and a bit shy) In 2006 my best friend from college and I co-founded a children’s theatre company called Long Nose Puppets.  This was the best thing ever because we got to make all the puppets and to act but all the while hiding in a booth and letting the puppets take the lime light. Being part of a puppet company meant I got my fix of theatre, all the  twinkly magic and being part of a team... life as an illustrator is quite solitary so it was nice to be out in the world one again.

How did  it feel to be working on Edward Lear's Owl and the Pussy Cat which is such an iconic text and has been illustrated by so many?  Were there any challenges with illustrating

such a well known text?

When I was sent Michael’s text to read I bowled over by it. It’s such touching story beautifully written. The book recounts Michael in his first school play, at last I could do a book that included my love of theatre, not only the glory and colour of being on stage but all those other fun bits like making costumes and designing sets. To top it all off the play was of The Owl and Pussycat, my all time favourite poem. I remember not sleeping a wink the night after I first read the story, my head was full of images of what I’d like the book to look like.

The book is set in the past and is based around Michael Morpurgo's childhood, did you have any interaction with Michael or did you do any type of research?

The book is set in late 1940s London. I wanted to the colour palette and the outfits to reflect that era. I had an enormous fun making pictures that offset the grey hues of London in contrast to the popping colours theatrical costumes. I incorporated a lot of collage to the costumes to give the tactile impression that the children had cut them out and tuck them together themselves. I didn’t have any interaction with Michael beforehand, expect he was sent the roughs. He was brilliant at letting me just go ahead with how I imagined it giving me lots of space to take liberties and at the same time offering encouragement. It is such personal story for Michael, I wanted to do it justice and for him to be happy. 

What interested or excited you most about the story?

Not only does this book include my favourite poem and brims with the magic of theatre, the reason I  liked it best of all because it’s a LOVE story. Michael’s words really do express so much of the anguish, excitement and pain of those feelings of first love. That’s what really inspired me, trying to capture those emotions in the drawing. I find once I’ve got the “feeling” of the character right all the rest of the colour and composition tends to fall into place. And vice versa, if the character isn’t spot on I can never get a picture to hang together. I guess drawing is a bit like acting. I have to really feel what the character is feeling to make it look believable and not a caricature.

Do you have any memories of texts being performed in school and, if so, what role did you play?

I remember being in school plays very vividly. My first big part was in Alice in Wonderland, I played the Mad Hatter. I had long blond haired and of course at the time I hoped to play Alice but I have two left feet and can’t sing a note- The Mad Hatter was much the best roll for me, also I got to make my own costume.

Can you talk us through your process for creating illustrations?

The artwork for The Owl or Pussycat is different from my normal illustration. My work is usually very pared-down, not much background all focus on the emotion of the character.  This tale needed lots of busy scenes, the school hall, the audience at the play and the atmosphere of smoggy London at the very end. It was challenge of me to illustrate in this way, especially as I had such clear visions in my mine of the atmospheres I wanted to capture. The process for me was a bit like collage, I drew the characters with a combination of pencil watercolour and collage. I drew the background separately and layered them all together on Photoshop. This way of working gives me a lot of freedom so I can make changes and tweak things as I go along. It also meant many hours sat in front of a computer. Putting all my hand drawn elements together in a none slick and “computery” way. Sometimes the technology can be more of a hindrance than a help and I have to be careful not to lose the essence and directness of my initial sketches.

You've collaborated with some amazing authors, Margaret Mahy, David Almond, Michael Morpurgo, what in your opinion makes the richest opportunities in a story for illustrating?

I’ve been extraordinarily lucky to work with such brilliant writers. A text for me must have an “otherness,”  some sort of magic that sparks the imagination. I love writing that leaves space for the illustrator, doesn’t over describe, lets me do my job with a free reign, hopefully bringing something to the story that wasn’t there before, at the same time I have to leave space for the reader, if they can bring their own imagination to the story that’s when a book really flies.

What is next for you?

My next book is by brilliant young poet Raymond Antrobus, it’s about a young bear coming to terms with being deaf. Again this is a story close to my heart, for very different reasons. I’ve also been working on something completely different a book for adults called Hello, Mum, it tells the story of my two boys early childhood and myself as a mum. It’s full of all the doodles and musing from my sketch book from this chaotic and magical time.

A huge thank you to Polly Dunbar for a brilliant interview and to David Fickling Books for the opportunity.