Paul Nugent talks about knowing the backstory, holding on to your original version, and learning from other illustrators
What brought you to illustration?
I’ve always enjoyed making art, but I took a roundabout route into illustration, as so many illustrators do. I originally studied general science in UCD after finishing school, because I didn’t think being an artist was an option. I remember during a chemistry exam (which I failed), being interrupted by an invigilator who told me that they liked the drawings that covered my exam paper. I learned that day that maybe I was in the wrong place, and that the first law of thermodynamics isn’t ‘don’t judge a book by its cover’.
l studied general science in UCD after finishing school, because I didn’t think being an artist was an option
I then bit the bullet and studied fine art practices in Gorey School of Art, before landing in the illustration programme at Ballyfermot College of Further Education. While in BCFE, I happened to read a copy of John Klassen’s I Want My Hat Back, and decided on the spot I would like to make picture books.
What is the most misunderstood thing about an illustrator’s role?
Illustration is sometimes treated as decoration, or window dressing for text, and this couldn’t be further from the truth. You can convey tone, emotion, or sum up an entire chapter in an instant and at a glance with illustration, something even the best writing can’t do.
the oldest records of drawing predate writing by over 40,000 years
It’s a much more concise and direct form of communication; it’s no wonder the oldest records of drawing predate writing by over 40,000 years (yes, I’ve been reading Chris Haughton’s latest book The History of Information). I feel like that should be given more currency in a time where people’s attention spans are so heavily monetized.
What do you love about your work?
My favourite thing about my work is that it often contains tiny, pixel-wide details that I spend hours and hours drawing, and that nobody will ever be able to see without the aid of a magnifying glass.
How do you approach illustrating someone else’s story?
Working from your own writing is a lot more straightforward in that you don’t have to go through the process of interpreting the text and trying to figure out the author’s intentions. Theme and symbolism is one thing, but continuity is where I can get a bit hung up. How did a character get from A to B, or how does the environment influence their action, etc.
I usually have to get to a place where I see the story play out as an animation in my mind
I usually have to get to a place where I see the story play out as an animation in my mind, where everything that happens before and after the illustration, and in between the pages makes sense and flows well. Of course, none of that backstory goes into the book, but I think it helps make the artwork more coherent!
What do you keep in mind when illustrating for children?
My main focus when making art is creating something that I would enjoy if I was the viewer, without compromising it just because it’s for children. I think if I enjoy it as an adult, I would have enjoyed it as a child. I also think children are better at reacting honestly to art as they have no pre-conceived notions of ‘what’s good’, or what a genre ‘should be’. You can sometimes encounter concerns about using big words or complex themes in art for children, but I say art is the best way to learn about big words and complex themes!
What’s the most challenging thing for you about the process?
It can be hard to make art when you’re not feeling motivated, and I find it very difficult to motivate myself to do work that isn’t exciting or interesting to me in some way. I can turn up at my desk and put in a day’s work, but if I can’t engage with the content in some way it feels like a slog. Fortunately, most of the work I do isn’t like this, but you do have to take boring jobs from time to time to pay the bills!
What’s the most important lesson you’ve learned?
When a client asks for changes to an illustration, as they are known to do, make sure to keep a copy of the original version. There is a double digit percentage chance they will prefer your original version, and ask you to change it back.
Illustrations that you’ve created that are close to your heart?
My picture book Spring Chicken is the work I have made that is closest to my heart. Firstly, it’s the project that best reflects me creatively, without the added perspective of another author or client to consider (I like to have my cake and eat it, creatively speaking!).
My picture book Spring Chicken is the work I have made that is closest to my heart
Most importantly, to write and illustrate my own book was my avowed goal since I was in college, and a large part of that was the intention to dedicate my first book to my grandmother, who supported me while I studied. It’s been a few years since I graduated, but I got there in the end!
What advice would you give to someone who is thinking about becoming an illustrator?
My advice would be to learn from other illustrators. When I started out I made a lot of mistakes by trying to be independent, I learned a lot of things by trial and error, and that’s not very efficient at all. You can avoid a lot of pitfalls by reading books, watching tutorials, joining organisations such as the Association of Illustrators, but the most effective way is speaking to other illustrators.
I really love helping aspiring illustrators, because I distinctly remember the feeling of being on the outside of the industry looking in
I really love helping aspiring illustrators, because I distinctly remember the feeling of being on the outside of the industry looking in, and it isn’t easy to get your foot in the door without direction. (If this sounds like you, my inbox is always open, I even have a PowerPoint presentation on the topic!)
