We are delighted to welcome Joseph Namara Hollis to the blog.  Joseph has been named winner of the 2022 Klaus Flugge Prize which is awarded to the most promising and exciting newcomer to picture book illustration. A graduate of the Cambridge School of Art at Anglia Ruskin University, he won with his book Pierre’s New Hair, published by Tate Publishing, which tells the story of a bear obsessed with looking good but also desperate to show the world his roller-skating flair. Judge illustrator Emily Gravett said, ‘Pierre’s New Hair made me laugh out loud. What impressed me was the way that Joseph was able to conjure up a whole world for his characters to inhabit. It was our winner because we loved how every aspect of the book fitted together perfectly to make this a quirky fun book to read.’

Can you tell us about your route into illustration?

I’ve always drawn, including when I wasn’t meant to. A serial doodler. But it probably took until the end of a degree in Graphic Arts and Design at Leeds Met to realise I wanted to illustrate, or be an illustrator. Although I had been drawn towards it since studying arts foundation, I wasn’t truly aware what ‘illustration’ meant or that it was something I could do. It took several more years of experimentation to commit to the practice. Or understand what the practice might involve.

This was a lonely practice. Drawing in my makeshift studio between shifts as a support-worker, it sometimes felt like I was going against the grain.  Stark contrast to the atmosphere at Cambridge School of Art, when I began studying an MA in Children’s Book Illustration. That was a tremendously exciting time, surrounded by people with the same hopes and dreams, I knew I was in the right place. The end of the course marked the beginning of the journey to publication. The course’s final exhibition in London, trips to Bologna Children’s Book Fair (organised by Pam Smy and her team of volunteers), and illustration competitions (V&A Illustration Awards & the Macmillan Prize) gave me the opportunity to connect with publishers for the first time. But it would take several more years wrestling with my stories before I could find a way into the industry. During this leg of the journey, I had a partner (now my wife) who shared the same goals as me, so in a sense we were able to keep the team spirit (from Cambridge) alive.

On returning to England, we entered a Picture Hooks speed dating event and it was there, in Edinburgh that we first met (what would become) our illustration agency – Plum Pudding. I prepared work for the Bologna Children’s Book Fair for the third year, but this time with guidance from my agent, Hannah. I was delighted when she struck a deal with Tate Publishing. Hannah had helped me regain confidence writing, and editors Fay, and Emilia at Tate Publishing furthered this. It had been difficult developing the story beforehand (when things didn’t work out it often felt like a failure), but the process with Tate was most enjoyable. The perfect balance between freedom and support.

Are there any illustrators whose work and style have been particularly important or influential to you?

More illustrators than you can shake a stick at! I always mention Richard Scarry, whose work I adored as a child. On reflection his work has been a big influence. A favourite contemporary would be Bjorn Rune Lie, although the style is somewhat different there are parallels between the two. I’m attracted to the inventive characters, and the big worlds they build with intricate details. Wonderful! And witty. I can admire these for hours. And I intend to! – I’ve just ordered a Bjorn Rune Lie screen print!

Congratulations on winning the Klaus Flugge with 'Pierre's New Hair' it's a wonderfully energetic and fun book, can you tell us a little about how you created it?

It is difficult to keep track. I was working on it over the span of several years before working with Tate Publishing (and since having a baby my memory has eroded at an alarming rate).

The key ingredients, or tools would be my little red notebook. This is for the daily writing ritual. Anything goes! Write anything. And it is where the seeds of the idea were planted.

Then I threw myself directly into a tiny dummy book. The small size gave it a ‘throw-away’ nature, which helped relieve the potentially stifling pressure to make anything ‘important’. Playing with the page-turn helped coax the idea along into a sequence, forcing it to unfold page after page helped make it more like a ‘story’. That initial ‘idea bit’ happened fast and was exciting. I must be onto something here!

After that a much more drawn-out process began, wrestling with countless dummy books, experimenting with artwork, writing manuscripts, drawing flat plans, filling sketchbooks with drawings that explored how characters behave or thumbnailing how the sequence could evolve (in terms of page design and such). The story took many forms while this went on. It was often enjoyable, but certainly had its challenging phases (of doubt) too.

What does it mean to you winning the award and knowing that such a prestigious panel of judges selected 'Pierre's New Hair'?

I have great admiration for the judges, their decision fills me with gratitude. For me, it is permission. Permission to keep doing what sometimes feels nonsensical, uncertain, and impractical, whilst at the same time an absolute necessity.  I feel like I can enter the arena with them fighting my corner. It’ll give me momentum. Fearlessness. Which is extremely useful when wrestling with the creative forces!

The illustration and text combine to tell a wonderfully funny story.  Traditionally humour is often under-represented in prizes, how important are funny books?

We all need something to help lift our spirits. Something safe to retreat to and give us warmth. You won’t get that from the news, or social media. I love hibernating with books like The Wind in the Willows, The Day No One Was Angry and Skunk and Badger. Is it the anthropomorphism that makes these funny? I find it endearing, and those books certainly make me laugh.


The humour in Pierre’s New Hair is almost unintentional, it is more so a biproduct of trying to invest deeply in Pierre’s character. I don’t think there are jokes as such, instead personality injected bit by bit. Drawing after drawing. Curiosities emerge. Genuine interests seep in.  And this all ends up appearing funny, juxtaposed in an animal world. I’ve never really thought about it, but I’m sure if I tried more proactively to be funny, it would be a terrible experience. And involve more tears than laughter.

Do you have plans for what you will be working on next?

Quantum Physics (to clarify, I’m referring to illustrations for a quantum physics institute, I’m not intending to conduct any scientific experiments myself, no plans for a career change… yet) and a story about a miserable hedgehog.

I’m also keen to embark on entirely new ideas. Recently, I’ve been focusing a great deal of energy on raising my first child and teaching at university. But with the little one starting nursery and reducing my hours as a lecturer I’ll have more time to invest in my practice again. Play time! 

What would a dream commission be for you?

Every commission is a dream commission! Each project consumes so much energy, I wouldn’t take on anything that didn’t feel like a dream commission. There are far more efficient ways to pay the bills.

I’m excited about all elements of illustration and would like to stretch myself outside the area of children’s book illustration (although I’m not sure there are enough hours in the day). I wonder what happens when there are a different set of rules. It might be exciting to explore some ideas that are less child friendly.

However, perhaps more urgently, I want to keep exploring my own ideas as a children’s picture book maker and see how far I can push those boundaries. There’s so much to learn.

The winner of the Klaus Flugge traditionally goes on to judge the award the year after they have won.  Is there anything you'd particularly like to see among the contenders when you are a judge?

A great picture book will lead you on an unexpected journey, an element of surprise can be captivating. With that in mind, I’ll try to avoid going in search of something specific and let the books lead the way.

When an artist is lost in the moment wonderfully authentic things happen. It’s thrilling to see someone embrace spontaneity and take risks with their work. It’s great to see moments of unfiltered passion. Moments might be the keyword because those moments need to be cradled carefully to communicate eloquently. Light and shade (or yin and yang) add depth to a story. It’s wonderful when a picture book attains that ‘perfect’ balance.

A huge thank you to Joseph Namara Hollis for the fantastic interview and to Andrea Reece and the Klaus Flugge Prize for the opportunity!

Gallery images: 

One - Showing the cover rough and final cover image for 'Pierre's New Hair'

Two - An early rough

Three - Cover image for 'Not in the Mood'

Four - spreads from 'Pierre's New Hair'

Five - photograph of Klaus Flugge Prize winner Joseph Namara Hollis holding award

Six - Klaus Flugge with 2022 winner Joseph Namara Hollis and judges