Stunning illustrations by Chris Mould make this one of the most exciting editions of The Iron Man to be published. Ted Hughes is widely considered one of the greatest poets of his generation and indeed one of the greatest writers of the twentieth century. He was born in Yorkshire in , and was Poet Laureate from until his death in His most widely read classic children's story The Iron Man, has been adapted for both stage and screen, and is regarded as one of the greatest children's books of all time.
Chris Mould is an award-winning illustrator who went to art school at Yes, both. I also love sculpture and 3D art. Sophie Ryder is my favourite 3 dimensional artist. The Narnia Chronicles would be very special.
Watch this space…. Follow Chris Mould on Instagram and Twitter. You can pre-order it here. Fiction 5. Target Audience. Juvenile 5. Young Adult 1. Available Now At.
Downtown Library 5. EFCL 1. Book 5. Book on CD 2. Haig, Matt, 2. Coats, Lucy 1. Gormley, Greg 1. MacDonald, Alan, 1. Juvenile Audiobooks 2. Juvenile Fiction 2. Picture Books 2. Beginning Readers 1. Palsmobile 1. The book was well received though and I was pleased about that. I have felt like this about my work for most of my career but I am not unhappy about that. It made me conscientious and I think my drawing and painting has improved.
Which artists and authors have influenced and inspired your work? Chris Mould: Many, many people have influenced my work. Initially I was influenced by Ralph Steadman and Ronald Searle because I studied and fell in love with the pen and ink tradition and I discovered their work was responsible for bringing that tradition to a contemporary audience.
Could I do the same but make my work look like my own and not just a bad pastiche of theirs? That was my goal. Nick Ward: Mervyn Peake, a wonderful illustrator and author. His illustrations always reflect, enhance and become an integral part of any book. His writing is dense and atmospheric; he writes with the eye of a painter. There are so many brilliant illustrators from the past and in the present and they all have an influence in some way.
I also love the work of Charles Keeping, W. Edward Gorey — amazingly eccentric, fully imagined world. The reason being that I think, as someone who is carrying on the tradition of black-and-white illustration, he is a landmark figure. There is no one to touch him and I think many contemporary illustrators benefit from the fact that he is around. That secretly means I copy his work a lot. I was so annoyed that it took so long for him to receive the Greenaway Medal.
Who else do I like? I think he can draw like hell and design the shape of a page like no one else. David Wyatt — genius. Philip Reeve — another genius. There are many more! Chris Riddell: I love the work of Charlotte Voake — delicate, insightful, draughtsmanship and beautiful watercolour.
Dave McKean — exciting, graphic black and white illustration and cutting-edge picture book work. David Roberts — Edward Gorey inspired, characterful black and white cross-hatched illustration — very classy. Emily Gravett — the most exciting new talent in picture books for a decade — beautiful and touching characterisations. Quentin Blake — he is the master of the illustrated novel as well as being a great teacher and advocate of illustration.
Do any of these texts stand out as having been particularly memorable to illustrate? Chris Mould: Well the great thing is that they all create their own worlds and they are all unique to that writer.
Therefore each experience of illustrating their work is made different. Michael Lawrence creates a hilarious but sinister world in Young Monsters and Young Dracula which I particularly enjoyed. I think ultimately, working with such strongly creative people is what led me to want to write. And the point is that what actually happened for me is that I was so inspired by these worlds that I inevitably began to wonder about my own world and what it contained.
Maybe this is how people like Philip Reeve and Alan Snow felt when they made the transition! How do you visually interpret the creative world of other authors?
Chris Mould: This can be a tricky area. It often brings out differences between authors and illustrators but I really feel that if you go down the creative line together instead of alone it will result in something better. Paul Stewart and Chris Riddell have an excellent working relationship that means that their books evolve out of the time they spend together in creative thought.
Ian Ogilvy is a very visually minded writer. I like to get everybody in on things. Nick Ward: I think you have to be honest to yourself and the author. An illustrator must be in harmony with a story, otherwise it can become soulless — and this does happen! I suppose the most frustrating thing is to be chosen to illustrate a book, and then be asked to draw in the style of someone else. It rarely works!
I draw using a ball point pen and use other things like fibre tip pens, tippex, car spray, etc as a means of rendering. The colour work has basically the same approach except I use acrylic paint also. Which out of your pieces of work are you most proud of and why? The snowmen were pre-cursors to Mr Munroe. The Terrible Troublesome Troll I like for the simplicity of the illustrations and the heart-warming story. The reason being that they are, ideally, what I want to be doing, and they finally look how I wanted my work to look all along.
When things are not going well, it can be extremely frustrating and very lonely! Chris Mould: The best thing is that I am always genuinely excited about the working day. Sometimes I need a knock on the head. Chris Riddell: I like the actual illustrating part — sitting at my desk in my studio with a paintbrush in my hand. I dislike having to go out and publicise the finished books. My ambition is to become a hermit.
Chris Mould: A lot of my own personal influences for my own world come from film and TV. I like all the old Horror films but I also like humour.
Sinister and dark but not gory. A lot of this is to do with strange isolated places and what goes on there which is what the series is really about. Chris Riddell Ottoline and Mr Munroe just appeared one day in my sketchbook and stayed there for a year or so until I started thinking about young novels — transitional texts between picturebooks and novels, and remembered them.
Then I bought a little blue sketchbook and wrote Ottoline and the Yellow Cat in thumbnail form — words and pictures and design coming together at the same time. The boy in the book could be anybody; he could be you, or me, or any child in the world. I remember being fascinated by a book my dad had given me that had been his when he was a child.
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