Isabelle Arsenault: illustrator extraordinaire!
If you've ever read a book illustrated by Isabelle Arsenault, you will immediately recognize and appreciate the sensitivity and finesse of her style. With its softened edges and muted colours, her work appeals to both children and adults and has gained her international recognition. With numerous books to her credit, she has illustrated picture books and graphic novels in both English and French and has recently published her first self-written title.Isabelle has won the prestigious Governor General's Literary Award for Children's Literature--Illustration three times. In 2004, she won for Le coeur de monsieur Gaugin (written by Marie-Danielle Croteau); in 2012, for Virginia Wolf (written by Kyo Maclear) and in 2013, for Jane, le renard & moi (written by Fanny Britt). Isabelle was also a finalist for a Governor General's Literary Award in 2008 (My Letter to the World and Other Poems by Emily Dickinson), and in 2011 (Migrant by Maxine Trottier). She has twice had picture books named to the New York Times Best Illustrated Books of the Year list (Migrant and Jane, the Fox & Me) and won IBBY Canada's Elizabeth Mrazik-Cleaver Canadian Picture Book Award in 2012, for Virginia Wolf. A few other titles Isabelle has illustrated include Cloth Lullaby: The Woven Life of Louise Bourgeois, You Belong Here, Alpha, Once Upon a Northern Night, That Night's Train, Spork and Louis parmi les spectres.
Cloth Lullaby: The Woven Life of Louise Bourgeois (written by Amy Novesky) won the prestigious BolognaRagazzi Award this year for its in-depth study of art, its history and its present. This special category of the award highlights the care and commitment that many publishers all over the world dedicate to this genre of books. As stated in the release, "Art is universal and children's publishing has an opportunity to safeguard, preserve and promote awareness of humanity's artistic legacy."
The Hans Christian Andersen Nominating Committee of IBBY Canada has nominated Arsenault as the illustrator they have selected for consideration by the 2018 Hans Christian Andersen Jury. They feel that "Her exceptional contribution to the literary and artistic heritage of children's literature in Canada and internationally makes her a deserving and outstanding candidate." The official announcement of nominees for the 2018 Hans Christian Andersen award took place on April 3, 2017, at the Bologna Children's Book Fair. The jury will hold its meeting in January 2018, after which the shortlist will be announced immediately. The winners will be announced on the first day of the Bologna Children's Book Fair in 2018. Isabelle chats with us here about her work, her inspiration and how she came to be an illustrator of children's literature.
When and how did you discover your artistic ability?
When I was five or six years old, I won a drawing contest in my local newspaper for Christmas. It's probably then that I had a hint at my artistic ability; but moreover, I guess that I understood that I really enjoyed drawing and I could use my ability to create something unique.
Where did you study?
I studied graphic design and illustration at Universite du Quebec a Montreal from 1999 to 2001. Before that, I went to Cegep du Vieux-Montreal and studied fine arts.
What other authors or illustrators inspire you?
I get inspiration from illustrators from the picture book world such as Carson Ellis, Jon Klassen and Beatrice Alemagna. Also, I discovered that in the graphic novel world there was a lot of experimentation, and a few artists like Dominique Goblet, Brecht Evens and Manuele Fior are really pushing the boundaries of visual narrative along with innovative use of traditional techniques.
Why did you decide to work in the field of children's literature?
I worked for a few years as an editorial illustrator with very overwhelming timeframes and very short deadlines. I wanted something different, to take more time to develop my style and explore the narrative input I could have. So I started slowly with my first picture book, and then it took maybe two years to completely get rid of the editorial creation and work full-time in the book world creating picture books and graphic novels.
Do you find writing as rewarding and / or challenging as illustrating?
I believe illustrating is also a narrative process, especially in the graphic novel world where I had total freedom to deploy a world of its own with Jane, the Fox & Me. But, I must say --having just published my first story that I wrote myself (Colette's Lost Pet)--it just opened a wider world of creation and gave me the confidence that I can fully take charge in my future creations. I think writing is a very different process, and, since it's new to me, it is all very refreshing and exciting as opposed to illustrating, where I must explore deeper into my style during each new book project. It is a more demanding and physical exercise.
How does the process of illustrating your own work differ from illustrating the work of other authors?
I guess that I feel that I can use more personal input for inspiration. In Colette's Lost Pet, I was inspired by my two young boys and the back alley behind our house in the Mile End neighbourhood in Montreal. I can control the content and get it in sync with my surroundings. But I'm still very much inspired by the words of others, since they bring me to new places, to worlds other than mine, which is sometimes interesting, too.
Tell us what medium(s) you prefer to work in and why?
I use pencil and eraser, it's as simple as that. It's pure and easygoing and it needs to stay true to the idea because, with as few tools as that, I feel that my ideas and direction need to have strong concepts.
You have received many accolades for your work. How does it feel to add the Hans Christian Andersen Award nomination to that list?
Well, it easily tops all those received earlier as it feels like an embodiment of my career to date. I feel very grateful for these recognitions as they are part of a whole: good stories and good publishing. An illustrator needs these elements to fully experience all the possibilities that relate to any project. I can also say that the most important element that made a big difference in my work and hence the recognition, was the freedom I got to do these books and develop my style into what it is now.
Tell us about Colette's Lost Pet and what inspired you to write this book?
This book started with an image I did for research, showing a little girl looking at a poster of a lost bird. Then my agent suggested that it could be an interesting starting point for a story, and so I developed the plot around that girl and her missing parakeet based on imagination. I set the story in our neighbourhood and was inspired by my two kids and their friends playing in our back alley.
When you are not writing or illustrating children's books, what do you enjoy doing?
I like spending time with my family in the country, something very simple and calm.
Sandra O'Brien
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| Title Annotation: | PROFILE |
|---|---|
| Author: | O'Brien, Sandra |
| Publication: | Canadian Children's Book News |
| Article Type: | Interview |
| Geographic Code: | 1CANA |
| Date: | Jun 22, 2017 |
| Words: | 1200 |
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