Having extended conversations with illustrators has become one of my favourite parts of launching a new book into the world. Today, I’m delighted to be talking with Claire Westwood about our book Around the Circle: Celebrating the Church Year (Beaming Books).
Claire studied Fine Art at university, followed by a course in illustration. She lives and works between the sea and the South Downs in England. Aways working, she is happiest with her little dog beside her and is never without music whilst creating. Her illustrations are said to be colourful, slightly ethereal, with stories to tell. She’s a total dreamer who always tries to see glimmers in everything.
Laura: This is probably the simplest picture book text I have ever written. At first, I was worried that it was too spare, but when I saw the richness and detail of your illustrations, I was glad I had kept the text pared back. The combination of words and images felt just right. What was your impression when you first read the manuscript? Did the sparseness of the words give you more room to play with? Or was it tricky to interpret such a short text visually?
Claire: I actually prefer less text as it enables me to visualise what I can do without too much detail or direction. Having said that, the editor did send me some direction as to what they envisioned the spreads would look like, with freedom for me to interpret in my own way. Usually I just see a picture of how the illustration will look as I read the words. This is followed by lots of research and images that inspire me. My imagination kind of creates the scene and through building up layers I try to interpret what I feel into a visual experience.
Laura: For me, the circle of the church year is both very earthy (especially in how it engages all our senses) and other-worldly. Your illustrations have a similar feel. The botanical details and abundance of creatures ground us in the beauty of the world around us, but there is also a fantastic—almost dream-like—quality to your style that transports us somewhere else. When you are illustrating (this book or others), do you draw more on your imagination, or what you observe in the natural world? Or both?
Claire: My imagination guides me at all times. But that is fed and fired up by what I’ve seen around me. Nature, animals, and how they make me feel, drive me at all times. I’m actually happiest when out in the woods, walking through a field, or just looking up at the sky. In the car I can watch the trees, the light dancing on the branches, and the wildlife, embracing the beauty of nature on every trip through the countryside (obviously not when I’m driving). I’ve often been told I live in a dream world; that’s not a negative view. Sometimes when listening to music or looking at the clouds I do feel like there are other worlds–magical places–and I think I access those places when I’m creating my work.
Laura: Is the liturgical year part of your own background? How did this affect your approach to the artwork?
Claire: The liturgical year isn’t part of my background as in I don’t go to church. But I was aware of the things that happen, and vaguely, when. I did a lot of research and was also sent some information by the publisher. I did, however, still manage to get slightly confused when designing the cover! What I found was, after some initial panic at not being familiar with the church year, and fear of potentially getting it wrong, I began to understand it. Often, the research, followed by beginning the drawings, flows into my learning and understanding. This, in turn, educates my artwork. I somehow find that an understanding enables me to “feel” (in this case) what the year represents and how that should be represented in illustration. The colours that I feel, the use of light, and the additional details that need to be subtly added to imply a mood or feeling.
Laura: Is there a spread in the book that you find particularly satisfying? Can you tell us more about it and why it is meaningful to you?
Claire: I think most of all I enjoyed spread 22/23, the illustrations with rebirth. I could feel the energy of new life, love and hope. This I could imagine through fresh, light, colour, lots of joy, and an abundance of spring flowers. I also loved the nativity scene. This has been interpreted so many times over the years. But I felt my own style would hopefully bring my own way of seeing this special scene. I tried to add lots of layers to give the feeling of depth and intrigue into the story. I also loved creating all of the animals that bring so much life to the story. As if they somehow knew and felt drawn to the scene to witness this new baby. A unique moment that was experienced witnessed with love and wonder.
Laura: Finally, I have to ask you about all the animals—especially the birds. I love them all so much and find it very moving that you have included animals in your depiction of the life of Jesus, including moments of lament. How much planning do you put into which animals go where? Do they have symbolic significance? Or do you work intuitively and just pop them in where you feel they belong?
Claire: Thank you. I do intuitively place animals, birds and flowers in my illustrations. I create them all before the sketches, then add them to the scenes where I feel they fit. However, I did research meaning and significance for this book, as I didn’t want to use anything that could potentially be incorrect or give the wrong meaning. For me, the animals belong with us and therefore can be added to any scene. I feel they add a softness, a gentle reminder that we are all different yet equal. Also, the subtle appearance of a tiny lamb or robin can be small, yet add gentleness, a reminder of the time of year, or just make us feel like we are not alone. That felt particularly significant for this book. I also feel that they can provide the impression of real life, that is, in a scene there would naturally be some birds or maybe a rabbit in the background. Perhaps not always seen, but usually there. For me, in my illustrations, the flora and fauna are visible. This also makes the pictures,more accessible to children who can identify the creatures and, whilst young, may still see the world as a whole rather than separated.
And now some questions from Claire:
Claire: I’m also intrigued to know why you chose me as your artist for this precious book?
Laura: I first became aware of your work when I received a copy of The Gift of Baptism by Roger Hutchison. I was entranced by the illustrations. On one spread you depicted the Holy Spirit not only as the traditional dove but also as a Phoenix—continually reborn from its own ashes. I thought that was brilliant and so unexpected and powerful. When the time came to find an illustrator for Around the Circle, Naomi Krueger from Beaming Books generously included me in the conversation. She sent me a list of possible artists and when I saw your name I told her immediately that you were my first choice. She agreed, so we crossed our fingers and hoped you would say yes! One of the reasons I thought you would be perfect as an illustrator for this particular book is because your work has an aethereal quality without being insubstantial. It can feel dreamy, solemn, earthy, or exuberant—much like the church year!
Claire: I hope you are happy with my interpretation of your words. My question is, does it feel strange to let someone else loose with your thoughts?
Laura: I am absolutely delighted with your work, Claire. When my first few books were published, I think I was more possessive of the text. Handing it over to an illustrator was exciting, but a bit nerve-wracking, like entrusting your baby to a stranger. Over the years, though, I have grown a lot in my understanding of the partnership between author and illustrator. I have learned to see us as people telling the same story with different media and from different perspectives. Most of the time I enjoy being surprised! For example, in Around the Circle I was struck by the children reading in the spread on the Growing Time (Ordinary Time) spread. Reading is definitely one of the ways we grow, and I loved that you included it. I was also really moved by how animals are integrated into the story throughout. I think that says something important about our interconnectedness with other living beings. The fact that you brought that to the book makes it much richer.
Claire: Finally, I’m so happy we worked together on this. It’s a really special book and I can’t wait to see it out there in the world. Let’s hope we can work together again. Do you ever begin to write or think of a book that’s inspired by an artist you have previously worked with?
Laura: I am a very conceptual and verbal thinker, so my writing is rarely prompted by anything visual, and I don’t start writing with a specific illustration style in mind. I tend to hear the story in my head before I see it. However, as stories take shape, specific illustrators sometimes come to mind. For example, Sue Todd and I collaborated on the book Mira and the Big Story (Skinner House) and her linocuts were so perfect for the folktale quality of that story, whenever I write in that style, I think of Sue. I suspect the same thing will happen with you and I hope we have a chance to work together again!
Learn more about Claire Westwood here or follow her on Instagram: @claire.westwood.art
Laura Alary 