My negotiated project

I-stop motion isn't the easiest program to use if you want the movements to flow very naturally so it was crucial that i carefully drew my character over and over again, perfectly, with slight changes to make it work. In total i drew over 60 images of the girl, which did take a lot of time but i was determined to make it work without looking clumsy so it was definitely worth it. As mentioned earlier i'm not the most patient of people but this project definitely tested me. Once i got into it and had set up all of my equipment, i really didn't want to stop but it made it difficult when the natural lighting began to change outside as it would have a big impact on the complexion and mood of the scene. This was important but also very frustrating as i would replay the previously created scenes and see a slight change in brightness so would therefore have to start over

To be honest, my negotiated project was something of a roller coaster ride. I decided to change my original idea of creating a children's pop up book of phobias and instead, create my own 30 second animation. I've always had a fascination for the whole animation process and have often wondered how much patience the creators must have to be able to make an arm and a leg move so delicately. Making a stop motion animation is a very arduous job. It requires a lot of patience to photograph dozens, even hundreds of images. In all honesty, i'm not the most patient of people but i will gain this with practice as i want the quality of my work to be of a high standard and it is a job prospect that i'd love to consider undergoing in the future aswell as children's book illustration.

Oliver Jeffers

Oliver jeffer's is an artist, illustrator and writer who is widely known for his picture books for children published by harpercolins UK and penguin USA. He has won numerous awards such as the Nestle Smarties book prize, the Blue peter book award and the Irish book award. His work first became an interest to me when i was introduced to one of his books called 'The Great Paper Caper', when life in the forest between a group of animals begins to change because of a timber thief stealing tree trunks to make a huge paper aeroplane. The reason why i find him so inspiring is because in some ways, his drawings are also very childlike. The simplicity of the drawings and powerful emotions make these drawings so moving, and the best pages are the big double spreads. But before even reading the book, the physical materials of the book itself invites readers to rip up the texts covers and recycle them for aeroplanes!
Jeffer's use of watercolour gives the simple pictures texture and shading which makes illustrations stand out from the crowd. During an interview with the Guardian, Jeffers said "even before entering the book, you are immediately aware of its warmth, its depth and its organic, wholemeal textures." I love how he uses lots of different types of paper because it gives texture to each element on the page and has more of an impact on the young reader as opposed to using to flat, bold colours which personally, i find quite boring. There are gorgeous dark blues and deep violets, people with cute stick legs, and lolly pop trees with a square or two layered over the top. I think what makes him different to many other illustrators is the fact that he also appeals to people of all ages, like the parent who is actually reading their child the story.

Oona Patterson

I am curious as to how other artists go about creating their work and what tools and spaces are needed in order to achieve their craft.

Oona Patterson is a paper artist, poet and story teller based in the UK. She creates the most intriguing, intricate and wonderful sculptural worlds out of paper to accompany her stories and poems.
Each and every section is delicately and precisely hand cut, and her attention to detail is phenomenal. You need to take the time to look closely at her work and allow your eyes to wander over the details of the surface of the paper in order to absorb all the tiny figures, creatures and landscapes.

Hi Oona, can you tell me what you design and make?
I make small sculptures, photographs and have recently started experimenting with animation.

What materials do you use?

For my sculptures I always use paper and most often paper that’s been used for other things already, such as books and newspapers.

How often would you spend at your workspace per day and do you find it enough or not enough (or even too much time)?

Not enough time at all!
I also work as a graphic designer/marketing assistant for a small derelict theatre. This job provides inspiration for my art, it is still creative and most importantly supports me financially. As a result however it has meant I can only really spend a maximum of 10 hours a week on artwork.

What would you change about your work space if you could?

My studio is in my house which has meant I need to keep it clean and tidy (I also share it with my boyfriend), really I would like to be surrounded by paper and mess.
It would also be nice to have a studio that puts on its own exhibitions to keep some outside pressure on me to create and exhibit.

The dream of many makers so what stops you from making those changes
At the moment I have the space at home to keep my work space close to me which means that I can maximise my time and get as much out of it as possible - which is what I need right now.

Do you have a view from a window and do you find it inspiring?

Yes and yes, I can see lots of trees and squirrels and birds.
I’ve always loved drawing and making trees, so the inspiration is right before my eyes.

End of interview.

Her work very much reminds me of Su Blackwell's, using paper from recycled books to construct these installations out of them. They seem to create little sets which are then photographed with lighting and consist of the same magical atmosphere that Su Blackwell's does.

Kate Slater

Me and Gemma collaborated for our James and the Giant Competition brief and as our final book cover set design included handmade elements, i thought some of her work could give us some more ideas. Here is some more of her work including children's books which appeal to me.

Quite recently as random as it sounds when i visited my dad's house, i decided to take a trip to the Yorkshire sculpture Park and as i arrived, a stunning paper bird installation stood right infront of me which really caught my eye. I'd briefly heard about Kate's work before so decided to track it down online to see what else she creates and even found she's made childrens books aswell. Kate Slater works with both flat collage and a combination of paper, cut-outs and wire, which she uses to create suspended, relief illustrations. Her 3D work on display inside the shop was one of the freshest, most inspiring things I've seen in a long time.

Getting in touch with my favourite children's book illustrator

I thought it would be a bit of a long shot trying to get in touch with Mr Jeffers as I thought he would be super busy but i was really glad that he acknowledged my email and sent me this short but appreciative reply:

Oliver Jeffers
To Katy Jones

Hello Katy,
Thanks for the email and the very kind words.
I have attached a document of FAQs which should cover all your questions.




Katy Jones

Dear Oliver,

My name is Katy Jones and I'm a student at Stockport college, currently studying illustration in my third year as a degree and I was wondering if I could ask you a few questions about your work as I could possibly be your number one fan! I have a presentation on who inspires/influences me and I thought it would be a good idea to see what inspires your work?

If it is possible for you to reply, I was wondering if i could kindly have your permission to show this email and your reply on my blog?

These are the questions I would really like to ask you:

1. What first triggered a passion for illustrating children's books?

2. What is your favourite all time children's book and why?

3. Have any aspects of any children's book you have read made you take note and subsequently then added to your own repertoire?

4. What qualities do prospective clients look for in a candidate?

and finally...!

5. What aspects of your work do you feel make you stand out from others in your field?

Thank you for taking the time to read my email, as I've said i'm a huge fan of your work and i'd love to hear any input or advice you have as illustrators.
I look forward to your reply,

Best wishes

Katy Jones

Stills taken from my animation..

Unfortunately, i wasn't able to upload my animation due to a technical error so instead i've added some still's to give you a brief idea as to what was involved. I had so many issues with the camera equipment which slowed my working progress down a hell of a lot so it took a huge wedge out of the precious time i had whilst creating it. Personally, i felt like i did work really hard creating the animation and was pleased with my final outcome seen as it has only been my second animation project at college. Obviosuly i wish i'd spent more time on the research side of the project but making the actual animation took up every spare bit of time i had with also having to prepare each element and draw them so carefully but I have learnt from my mistakes and will take this into account when i undergo my final major project.

Container Plus...

The image with the typewriter is one of my favourites as it looks as if all of the drawings and paper models are coming to life and about to walk off the page. We were set the task of creating illustrations based on the 7 x 7 book which i've written about in previous posts.

One of my biggest influences is Container Plus, a collaborative group who are based in London, currently with 3 people working together. Their work is a combination of illustrion, photography, set design and animation and they've produced work for an outstanding number of clients including Topshop, the Bafta's, London Design Festival etc...They also have experimented with their own personal projects for fun, which to me, is really admirable and it proves just how passionate they are for producing work. It shows they are willing and eager to push their ideas furthur and develop more skills. I think there is a big advantage in working collaboratively because you can learn from each other and exchange ideas but you can also allocate the skills you don't have over to someone else who is more experienced in that particular field. If you are working collaboratively, i think it is best to keep it to a minority and people you can rely on, because from past experience, the more people you add to your group, the more people you have to please. Louise, one of the members of Container Plus, came and delivered a speech and gave us an insight as to how collaborating with people works and what compromises and sacrifices you have to make. From listening to her helpful advice, i was quite excited by the prospect of working with someone and found it refreshing to be proven that it is possible for illustrators to work together even thought there are challenges you have to face.

PDP: Industry Contacts list - complete

1.Jacqueline Wagner
Penn Street Studio
23 – 28 Penn Street
London N1 5DL
T: 07981768902

2.Hattie Newman
Illustrator and SET DESIGNER,uk
T: 07747690212
Penguin Books Books

3.Lisa Piercy
Set designer
T: 07817177469

4.Binding Service – University Of Manchester John Rylands Library
Thesis Binding Service,
The Joule Library, The John Rylands University Library
Sackville Street Building
The University of Manchester
Manchester M60 1QD
T: +44(0)161 306 4916

5.Louis Turner
Container Plus
T: 02031373484

6.Dave Baguely
Moving Image student
T: 07575204956

7.Danny Whitfield
ITV Co Producer
T: 07989568540

8.Sue Reddish
Animation tutor
T: 07816123359

9.Martin Brown
Photography student
T: 07795087090

10.GCP Design Ltd
previous work experience
554 Barton Road

Lancashire M32 9TD
T: 0161 7550050 
F: 0161 7550051 

11.Phillippa Rankin
T: 07749111023

330 Slade Lane
M19 2BY
T: 0161 248 0440
F: 0161 248 0448

13.Gemma Beavan
Fellow illustration student/previously collaborated
T: 07794924991

14.MARC Printers
T: 0161 839 0839

15.Manchester Central Library
Manchester City Council
Town Hall
Albert Square M60 2LA
T: 0161 234 5000
M60 2LA

PDP: Potential Client List - complete

1.Ladybird Books Ltd
Registered No. 00200130
Registered Office: 80 Strand
London WC2R 0RL

Address: Faber &Faber Ltd
Bloomsbury House
74-77 Great Russel Street
London WC1B 3DA
T: 0207-927-3800

3.Piccadilly Press
5 Castle Road
London NW1 8PR
T: +44 (0)20 7267 4492
F: +44 (0)20 7267 4493

4.Bloomsbury Publishing Plc
Registered in England No. 1984336
Registered Office: 36 Soho Square
London W1D 3QY
T: +44(0)20 7494 2111
F: +44 (0)20 7434 0151

5.Barefoot Books UK Office
Barefoot Books

124 Walcot Street

Bath BA1 5BG

T: 0800 328 2640

6.The Book Shed
36 Leyborne Park
Kew, Richmond
Surrey TW9 3HA
T: +44 (0)20 8948 2884
F: +44 (0)20 8948 6458

7.Art Buyer Magazine
Design and Production

Graeme Thomas

T: +44 (0)1442 289938


8.The Urbis Gallery
Registered office
PO Box 532
Town Hall
Albert Square
Manchester M60 2LA
T: (0)161 605 8200

9.Red House Books
Red House
PO BOX 142
Bangor LL57 42P
T: 0845 606 4280

10.Usborne Children's Books
Usborne Publishing
83-85 Saffron Hill
London EC1N 8RT

11.Penguin Books

12.The Guardian
Registered Office
PO BOX 68164
90 York Way
London N1P 2AP

13.Franklin Watts publishers
338 Euston Road

 NW1 3BH


14.Igloo Books Limited 

Cottage Farm

Mears Ashby Road


Northants NN6 0BJ

15.Little Tiger Press Publishers
1 The Coda Centre
189 Munster Road

London SW6 6AW

16.Lion Hudson plc

Wilkinson House
Jordan Hill Road

Oxford OX2 8DR


17.Harper Collins
Human Resources
77-85 Fulham Palace Road
London W6 8JB
T: 0208-307-4000

18.Scholastic Children’s Books
Euston House
24 Eversholt Street
London NW1 1DB
T: 020 7756 7756

19.Abacus Books
45B, William Pickering Drive
Albany, Auckland 0632
New Zealand

20.The Chicken House
2 Palmer Street

 BA11 1DS
General Enquiries
T: +44 (0)1373 454488


Su Blackwell and her little lit up house..

We were really pleased with how they turned out on the photo's but we thought they looked a bit too 'nice and friendly' seen as though it is meant to depict James' nasty Aunt's house..

Su Blackwell's little paper house which is lit up on the page has been a big influence with my James and the Giant Peach brief. Gemma and I wanted to recreate our own house similar to hers for our book cover so we had a go at making one out of thin pieces of wood.

My Business Card design

Here are two designs which i came up with for my business card. I wanted to create something a little bit different by having a fold in it which when opened shows a continuation of the image on the front of the card. For example, mine shows the lady sleeping along the front with only a hint of the monster until you open it up and see the rest of it. This is a still image taken from my recent animation for my negotiated project and personally i think i prefer the bottom design. For now, i only have one example of each as will probably most definitely end up improving which ever one i choose. A place called Logoprint (see industry contacts list for details) printed them for me after i'd shown them these two mock up designs which i simply put together in Photoshop and sent them on to them.

Getting in touch with Jez Alborough..

I was really pleased to receive a reply from Jez as i'd previously read an interview online which he'd done a few months back and he sounded like a nice, down to earth illustrator. I have a two year old brother and it was only when i was having a look through his books that i found one called "Where's my teddy?' by Jez and the illustrations really appealed to me. Not usually the type which would catch my eye but my brother certainly enjoyed looking at them :) This was his kind reply:

Hi Katy,
thanks for your enquiry, sorry I don't have time for long answers but if
yu look around on my website there should be lots more that yoou might be
interested in (especially under Jez Says under each book).

It's hard to pick one but for now lets say OWL BABIES by martin Wadell
illustrated by Patrick Benson. Its the perfect combination of text and
illustration, nothing extraneous,proving that less is more.I plan to write
something about THE GRINCH by Dr Sueuss next year- another stunning book.

I just love it as an artform,the way that pictures and text go together like
music and lyrics in a song.

No, you have to do your own thing and keep moving forward within that.

You'd have to ask a publisher that.

I'd like to invite you to join my newsletter (see homepge of website) where
you can keep up to date with what I'm doing.

Happy Christmas


Dear Jez,

My name is Katy Jones and I'm a student at Stockport college, currently
studying illustration in my third year as a degree and I was wondering if I
could ask you a few questions about your work as I could possibly be your
number one fan! I have a presentation on who inspires/influences me and I
thought it would be a good idea to see what inspires your work?

If it is possible for you to reply, I was wondering if i could kindly have
your permission to show this email and your reply on my blog?

These are the questions I would really like to ask you:

1. What is your favourite all time children's book and why?

2. What first triggered a passion for illustrating children's books?

3. Have any aspects of any children's book you have read made you take note
and subsequently then added to your own repertoire?

4. When hiring a new candidate, what attributes are coveted by a client?

I'm sure you're very busy but i really appreciate you taking the time to read my email. Any input or advice you can give as an illustrator would be very much appreciated. I look forward to your reply,

Best wishes

Katy Jones