‘An illustrator’s commitment is to the concept, message, or idea’—Tarsila Krüse talks about her work
What brought you to illustration?
I vividly remember a time when I couldn’t yet read but longed to hold a book in my hands and make it my own, imagining that I could ‘read’ it. I often stacked a small pile of illustrated books and found a cosy spot to settle down. As I opened the covers and danced my fingers over the pages, I was filled with curiosity and wonder. The images captivated me, and since the words seemed like scribbles, I made up my own stories, regardless of what the book was actually about.
Illustrations and stories have always been fascinating to me. As a child, being creative was one of my favourite things, so it is no wonder I embraced communication, languages, and teaching professionally. These are areas in which I could always explore creativity through designing activities and lesson plans, creating advertising campaigns, and learning and sharing the intricacies of another culture.
the words seemed like scribbles, I made up my own stories, regardless of what the book was actually about
When I moved to Ireland, in a twist of luck, I landed a job as a souvenir designer using a blog with some of my hobbies and drawings as my portfolio. That was an encouraging experience that gave me confidence in pursuing more creative endeavours. I attended a couple of weekend illustration classes covering many illustration applications and started moving towards children’s publishing. That felt very meaningful. I began to want to make books for children to give them the same joy and wonder and go back to that time when I made stories of my own and let others make theirs.
What is the most misunderstood thing about an illustrator’s role?
Many people assume that an illustrator’s job is solely about drawing. While drawing is a very enjoyable and crucial part of the process, illustrators spend a significant amount of time on many other tasks that make the drawing part possible, especially if they are self-employed or freelancing.
Although illustration is at the core of the business, it is a business
Besides creating artwork and research, freelance illustrators often have many business responsibilities, such as developing projects, managing contracts, handling bookkeeping and taxes, applying for grants, seeking more work opportunities, dedicating time to learning, networking, updating their websites, promoting their work on social media and dedicating valuable time building and maintaining client relationships. The business side of illustration often goes unseen. Although illustration is at the core of the business, it is a business.
What do you love about your work?
What I love most about my work is the warm, cosy feeling it brings me. It’s more than just what I do for work; it’s a way to create meaningful connections. I enjoy crafting characters and worlds that welcome readers with open arms, hoping to evoke those same feelings in them. It is incredibly rewarding when a child tells me they see themselves as the main character in one of my stories or when a grownup shares how my book has become a beloved bedtime read for their child. Hearing that one of my books has helped children navigate their anxieties about the world or inspired them in any way always fills me with happiness and reminds me that my work is making a positive impact, even in a small way.
It is incredibly rewarding when a child tells me they see themselves as the main character in one of my stories
I also have an immense appreciation for the creative process itself. Creating stories in words and images allows me to play with my imagination and hone my observation skills while finding those relatable connections in everyday life. The flexibility of my work also gives me the freedom to explore and grow, allowing me to continually infuse my stories with a personal touch. It’s a deeply personal and fulfilling journey.
How do you approach illustrating someone else’s story?
When I illustrate someone else’s stories, it’s important to honour the story and create illustrations that enhance its concept. I aim to create artwork that will make the storytelling even more impactful than the author might have imagined. My focus then is on the dynamic interplay between the written word and the visuals, which is always my goal when collaborating.
Sometimes, characters and compositions develop into their own stories, making the process even more fun and unexpected
When I’m working on my own stories, I aim to work in a similar manner. However, because I have full ownership of the concepts, I allow more time to experiment and play and let the entire book evolve through that creative process. In a collaboration, I’m following the steps of someone else’s music, while when I illustrate my own books, I’m composing a choreography of my own. I have to let the visuals transform the manuscript and introduce new dimensions to my original ideas, often bringing the narrative to life in a surprising way. Sometimes, characters and compositions develop into their own stories, making the process even more fun and unexpected.
Collaborating with others can be very enjoyable, especially since much of a freelancer’s work is done independently. Personally, I enjoy the creative exchanges. When working alone, I sometimes struggle to set aside my ideas, as the opportunities for creativity are endless, and so many thoughts compete for my attention!
What do you keep in mind when illustrating for children?
When illustrating for children, I can’t help but connect to my own inner child and the joy of storytelling. Listening closely to that part of myself helps me understand how to share emotions and experiences that connect with the children I write to. Above that, being surrounded by today’s children is also essential. I facilitate a lot of workshops in schools and libraries, which provide me with the opportunity to listen to the many voices and experiences of these children. I believe that children must feel seen and heard as the individuals they are in the stories and books I make; therefore, showcasing diversity and inclusion is incredibly important to me.
Educator Jean Piaget proposed that children develop their understanding through a process called assimilation. He believed that educators, parents and caregivers play a crucial role in guiding and supporting children as they explore and discover their surroundings, creating an environment where children can grow and build upon their experiences. I see children’s books in a very similar light. It is about using the skills an illustrator has to tell a story through composition, lines, colour, characters and more so that we can create stories and books that embrace children’s experiences and give them the tools they need at the stage in which they are in to grow, blossom, reflect and discover the world and themselves.
Illustrating for children goes much deeper than creating child-like or child-friendly images
Illustrating for children goes much deeper than creating child-like or child-friendly images. Picture books are often the first form of art that children encounter in their lives, so it’s essential to take this into consideration and not be condescending. It’s not about choosing a specific medium that will create a connection; it’s about what the story requires. What truly matters is the authenticity and relatability of the narrative. My work can assure children that their experiences and emotions are valid and valued. That’s what makes the magic!
What is the most challenging thing for you about the process?
The most challenging aspect of my creative process is refining and narrowing down the ideas that constantly fill my mind. As a creative, I often find myself overwhelmed by so many interesting characters and captivating storylines, all asking for my attention. Determining which ideas to pursue can be difficult, especially when developing new concepts. So, to curb the overwhelm, I have focused on projects that bring me joy and resonate with me at that moment, and I fully commit to developing one project before moving on to another.
Working on my latest book, A Little Birdie Told Me showed me exactly why this process is important. I had the seedling idea of this book in mind for a long time, and when I received a bursary for a week-long residency at the Tyrone Guthrie Centre through Children’s Books Ireland, I decided to dedicate my focus to it. At that time, the concept truly resonated with me, and concentrating on it without getting distracted by other ideas helped me gain immense clarity as to which direction I wanted to take the book. The residency was crucial for completing the project and understanding the depth of focus required for it.
When creative challenges arise, it’s tempting to fall into the ‘magpie syndrome’ and chase the next shiny idea
When creative challenges arise, it’s tempting to fall into the ‘magpie syndrome’ and chase the next shiny idea. However, it’s vital to persevere through the difficulties of any project before moving on to the next. Adopting this model has been incredibly rewarding as I gradually see my ideas become more concrete, one at a time.
What’s the most important lesson you’ve learned as an illustrator?
The most important lesson I’ve learned as an illustrator is that although drawings and other technical skills are an absolute requirement for every niche within the illustration industry, an illustrator’s commitment is, first and foremost, to the concept, message, or idea.
An illustrator transforms abstract thinking and ideas into visual form. We are visual communicators. All illustrators, regardless of whether they work in advertising, packaging, product design, publishing, animation, or any other area, must use their knowledge of lines, shapes, colour, balance, composition, medium, storytelling and more to convey the ideas and deliver the impact of those messages. Being able to translate a concept, message or idea into visual form is the true work of an illustrator.
Illustrations that you’ve created that are close to your heart?
I have created many illustrations that are close to my heart! My work is infused with affection, tenderness, and care, and as a result, my illustrations reflect these same feelings. Each book represents a specific moment in my life, especially since creating a picturebook takes at least three months. My books grew and developed around different seasons of my life, and each carries its own significance.
For example, my son was a newborn when I illustrated my very first book, Ná Gabhar Scoil (written by Máire Zepf and published by Futa Fata). Illustrating that book during those sleepless nights marked a critical time in my life; it signifies my entry into children’s publishing and is a powerful reminder about resilience.
My books grew and developed around different seasons of my life, and each carries its own significance
Working with Sadhbh Devlin on Bí ag Spraoi liom! (Futa Fata) brought me so many wonderful things. I played with illustrating a parallel story within the book and with different angles, making it so much fun. Then, it opened the doors to the world of workshops and connected me much more with the Irish-speaking community. My books, My Little Album of Ireland and My Little Album of Dublin (The O’Brien Press), co-authored with French author Juliette Saumande, are filled with illustrations of friends, family, unique places, and meaningful things to us. They are our children’s illustrated love letters to the city and country that welcomed us.
My authorial book Little Love Lessons (The O’Brien Press), also shares reflections on life and love for both grownups and children to share. This very special book which evolved from my personal experience with postnatal depression. When I create, especially picturebooks, I hold each character, book, and idea very close to my heart. That makes them special to me and, hopefully, to others too.
What advice would you give to someone who wants to become an illustrator?
Be playful and have fun! The best illustration work often stems from a state of play, relaxation, and enjoyment. Allow yourself to experiment with unexpected ideas, explore different mediums, and appreciate various art forms. Create connections that are unique to your perspective and make the process enjoyable! Create, experiment, and don’t hesitate to remake your work.
Create, experiment, and don’t hesitate to remake your work
Buy the cheapest sketchbook you find with whatever pen or pencil you have, and get started. Keep inventing and reinventing. Don’t worry too much about finding or developing a specific style. Remember, you are a communicator of ideas, and exploring the many different ways to tell a story is essential. Pick up a pencil, pastel, charcoal, marker, tablet, or whatever tool you use and create today. And most importantly, have fun!
