{"id":2516,"date":"2013-02-18T00:01:57","date_gmt":"2013-02-18T06:01:57","guid":{"rendered":"http:\/\/blaine.org\/sevenimpossiblethings\/?p=2516"},"modified":"2013-02-18T00:02:18","modified_gmt":"2013-02-18T06:02:18","slug":"seven-questions-over-breakfast-with-olivier-dunrea","status":"publish","type":"post","link":"http:\/\/blaine.org\/sevenimpossiblethings\/?p=2516","title":{"rendered":"Seven Questions Over Breakfast with Olivier Dunrea"},"content":{"rendered":"

There are certain children’s books I hold dear as a parent, ones that are closely associated with my own daughters’ preschool years. Olivier Dunrea’s<\/a><\/strong> children’s books are among them, particularly his international bestselling series of books for very young children, the Gossie & Friends<\/em> series, books which have been translated into more than twenty-five languages. My children delighted in these stories, which began in 2002, and I never tired of reading them as a parent. The series is very near completion. When finished, “there will be a gaggle of thirteen diverse and spirited goslings,” says Olivier, who has been making children’s books since 1982 and who is pictured here with Gabe. These small, square books are full of stories sweet, but never saccharine, unassuming, and pleasingly offbeat. “Dunrea’s tales are simply wrought and rendered,” Kirkus<\/em> has written, “with the ink and watercolor illustrations capturing the quaint, whimsical charm of the stories. Situated against stark white backgrounds, the bright-hued vignettes communicate an abundance of expression in a few deft strokes.”<\/p>\n

And that right there nails it for me: the simplicity of these tales, which get right to the humor and spunk of preschoolers, all laid out with such grace and with what looks<\/em> like such little effort. (Undoubtedly, it takes a great deal of work.) The clean, uncluttered artwork, the bright primary hues, the assured lines, and the engaging, entertaining story lines appeal directly to very young children. “Gossie’s rural world is reassuringly child-sized, clear, and contained,” writes School Library Journal<\/em>. Dunrea’s work in these books, both the writing and the artwork, could be a case study, I dare say, for those illustrators setting out to successfully create books for preschool-aged children. Or, as Publishers Weekly<\/em> once wrote, “With diminutive heroes who assert a budding independence, these tales demonstrate once again how well their creator knows his audience.” Next month will see the release of the latest in the series, Jasper & Joop<\/em><\/a><\/strong> (Houghton Mifflin), though pictured above is the oh-so playful and reluctant napper, Gideon. <\/p>\n

Dunrea—who once said he doesn’t write books for children but, instead, makes them for himself (“it just so happens that children like what I do as much as I do!”)—says that his picture books are folk tales or fairy tales from his larger mythology, The Lay of Moel Eyris<\/em>. (More on that and his love of mythology and fantasy below.) Olivier’s also illustrated for other authors, as well as created picture books outside of the Gossie & Friends<\/em> series. There’s more below on his work as a whole, and I thank him for visiting me this morning. He’s not a big breakfast-eater, but he’s opting for some coffee, some grapefruit juice, and a bagel with butter. I can handle that. I’ve got the cyber-coffee brewing, while I set the table and get the basics from him first. <\/p>\n

Let’s get to it. <\/p>\n

* * * * * * *<\/strong><\/font><\/center><\/p>\n


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“Me, Scout on my lap, and Fergus — waking up with coffee …”<\/em><\/center><\/p>\n

Jules<\/font><\/strong>: Are you an illustrator or author\/illustrator?<\/font><\/p>\n

Olivier<\/font><\/strong>: I am both a writer and illustrator. (I’ve always hated the term \u201cauthor\u201d — I don\u2019t auth anything, but I write lots of things.)<\/p>\n

I am a writer who illustrates; not an illustrator who writes. Writing comes fairly easily and quickly for me, but it\u2019s the artwork that I agonize over and never seem to get just right. I have very little color sense; that\u2019s why my books tend to be somewhat subdued in color. Browns, greys, and small splashes of red is my usual colour palette. Winter settings are my preferred time of year for my stories. <\/p>\n

I love the earth tone colors of the autumn and late autumn, as well as winter. <\/p>\n

Color study for <\/em>Old Bear and His Cub<\/a><\/strong> (Philomel, 2010)<\/em><\/center><\/p>\n

Jules<\/font><\/strong>: Can you list your books-to-date?<\/font><\/p>\n

Olivier<\/font><\/strong>: [Ed. Note: A comprehensive list is included at the bottom of the interview.]<\/em><\/p>\n

Jules<\/font><\/strong>: What is your usual medium, or\u2013\u2013if you use a variety\u2014your preferred one?<\/font><\/p>\n

Olivier<\/font><\/strong>: Pencil and gouache or pen-and-ink and gouache. When The Lay of Moel Eyris: The Saga of the Bear\u2019s Son<\/em> is published, the illustrations will be pen-and-ink (black and white). The Lay of Moel Eyris<\/em> is a five-volume epic heroic saga\/mythology; a detailed, full-colour map will be included (Book One: The Secret Book of Moolstery<\/em>; Book Two: The Secret of the Mool Dykes<\/em>; Book Three: The Secret of Morag’s Too’er<\/em>; Book Four: The Secret of the Myvyrrian Map<\/em>; Book Five: The Secret of the Dragon Eggs<\/em>). <\/p>\n

Jules<\/font><\/strong>: If you have illustrated for various age ranges (such as both early readers and picture books) can you briefly discuss the differences in illustrating for one age group to another?<\/font> <\/p>\n

Olivier<\/font><\/strong>: I do write and illustrate for different age groups. My style does not really change. Example: See Hanne’s Quest<\/a><\/em><\/strong>, a chapter book.<\/p>\n

<\/p>\n

Jules<\/font><\/strong>: Where are your stompin\u2019 grounds?<\/font> <\/p>\n

Olivier<\/font><\/strong>: I live in a tiny, remote mountain village, called Narrowsburg, in the southern tier of upstate New York. If<\/em> I see five to ten cars a day, that\u2019s a lot. <\/p>\n


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Olivier with his husband, photographer and videographer John Riffey<\/a><\/strong>;
Olivier and John share their home with many dogs, including rescue dogs<\/a><\/strong><\/em>.<\/center> <\/p>\n


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“Hiking in the woods with the pups”<\/em><\/center><\/p>\n


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“Working on the terrace on a large map (antiquing the paper)”<\/em><\/center><\/p>\n


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The Lower Gardens and woods of Olivier’s and John’s home, named <\/em>Henwoodie<\/a><\/strong>
(“It looks like a large, stately henhouse,” says Dunrea)<\/em><\/center><\/p>\n


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“Henwoodie is surrounded by an acre of lawns, gardens and terrace.”<\/em><\/center><\/p>\n


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“Our terrace in the Fall, looking misty and mysterious”<\/em><\/center><\/p>\n


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“I do quite a bit of my writing on the terrace under the red umbrella.
We built the 1,000 square foot terrace ourselves,
with my younger brother and his son doing the lion\u2019s share of the work.”<\/em><\/center><\/p>\n


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“Our Protective Goose Goddess!”<\/em><\/center><\/p>\n

Jules<\/font><\/strong>: Can you briefly tell me about your road to publication?<\/font> <\/p>\n

Olivier<\/font><\/strong>: Four publishers offered me seven contracts in 1982, when I first went to New York City to show my portfolio. I’ve been one of the lucky writers and illustrators who has done nothing but write and illustrate most of my adult life.<\/p>\n


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“Joop is a small, gray gosling who likes to be messy.”<\/em>
— From <\/em>Jasper & Joop<\/a><\/strong> (Houghton Mifflin, March 2013)<\/em><\/center><\/p>\n


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Final colors and outfits for Jasper and Joop<\/em><\/center>
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\n<\/a>
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“Jasper and Joop scurry to the piggery. ‘Come play!’ squeal the piglets.
Jasper shakes his head. Joop gleefully leaps into the mud.”<\/em>
(Click to enlarge)<\/center><\/p>\n


\n<\/p>\n


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“Jasper and Joop run to the pond. SPLASH!
Jasper and Joop jump into the pond.”<\/em><\/center><\/p>\n

<\/a>
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“Jasper laughs and flaps his wings. Joop stands on a rock and honks.
They are best friends.”<\/em>
(Click to enlarge)<\/center><\/p>\n

<\/p>\n

Jules<\/font><\/strong>: Can you please point readers to your web site and\/or blog?<\/font> <\/p>\n

Olivier<\/font><\/strong>: olivierdunrea.com<\/a><\/strong>.<\/p>\n

I am always way behind in keeping this website up-to-date!<\/p>\n


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Early art and character story boards for <\/em>Gemma & Gus,
scheduled to be released in 2014 (Houghton Mifflin)<\/em><\/center><\/p>\n

7-Imp<\/font><\/strong>: If you do school visits, tell me what they\u2019re like.<\/font><\/p>\n

Olivier<\/font><\/strong>: I started out as an Artist-in-Residence through the National Endowment for the Arts and Artists in Schools programs, funded by various state art councils in 1980. I did school visits from 1980-1995. I haven\u2019t done any public appearances for a number of years. Most folks say I am fairly reclusive and elusive.<\/p>\n

<\/a>
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Some sketches for <\/em>Old Bear and His Cub<\/a><\/strong> (Philomel, 2010)<\/em>
(Click to enlarge)<\/center><\/p>\n


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Sketch for Old Bear’s cottage<\/em><\/center><\/p>\n


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Sketch for front cover of <\/em>Old Bear and His Cub<\/a><\/strong><\/center><\/p>\n

<\/p>\n


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Sketch for title page of<\/em> Little Cub<\/a><\/strong> (Philomel, 2012)<\/em><\/center><\/p>\n


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Pencil sketch for <\/em>Little Cub<\/a><\/strong><\/center><\/p>\n


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Finished illustration for <\/em>Little Cub<\/a><\/strong><\/center><\/p>\n


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Olivier: “This is one of my favorite illustrations from <\/em>Little Cub…”<\/a><\/strong><\/center><\/p>\n


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“…And this is a portrait of me as Old Bear!”<\/em><\/center><\/p>\n

<\/p>\n

Jules<\/font><\/strong>: Any new titles\/projects you might be working on now that you can tell me about?<\/font><\/p>\n

Olivier<\/font><\/strong>: The Gossie & Friends<\/em> series is nearing completion. There will be a total of thirteen different goslings in the gaggle (a baker\u2019s dozen): Gossie, Gertie, Ollie, Peedie, BooBoo, Gideon, Jasper, Joop, Gemma, Gus, Gabby, Gabe, and Pearl.<\/p>\n

Each gosling\u2019s personality is based on one of our pups. The goslings represent a wide-ranging spectrum of personality types: from outgoing to very shy and quiet. <\/p>\n

Once all thirteen goslings have been introduced, the series will continue with new adventures, mixing and matching various goslings to tell the story. Examples: Pearl\u2019s Lost Pearls<\/em>; Gossie\u2019s Farm<\/em>; Gus, Go to Sleep!<\/em>; Peedie & Pete<\/em>; Goslings in the Barn<\/em>; The Great Eggscape<\/em>; etc.<\/p>\n

Here is a rough sketch for a poster design for Gossie & Friends<\/em>:<\/p>\n


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\nSketch for another poster design for Gossie & Friends<\/em>:
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\nHere\u2019s the finished artwork for the poster:
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\nHere are some fun paper dolls that Houghton Mifflin Harcourt produced as a free give-away to booksellers to promote the Gossie & Friends<\/em> series:
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\nThe first volume of The Lay of Moel Eyris: The Saga of the Bear\u2019s Son<\/em> was completed in the Fall of 2012. <\/p>\n

Here are several other projects in the hands of my editors: Essie and Myles<\/em>; Old Mrs. Grundy<\/em>; Me and Annie McPhee<\/em>; Schmoopy<\/em>; Itchy and Inga<\/em>; Bisou and Calin<\/em>; A Bed for Little Cub<\/em>; Little Cub and the Fireflies<\/em>.<\/p>\n


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“I often use either Little Cub or Gossie on my letterhead and business card design.”<\/em><\/center><\/p>\n

I am now working on a screenplay adaptation for two short stories. (Actually, one is the Prologue to my epic heroic saga\/mythology—you can read the Prologue with annotations at my website — The Lay of Moel Eyris<\/a><\/strong><\/em>.) A Hollywood agent asked me if I would try my hand at the screenplay. Over the past twelve years, Hollywood has had a lively interest in my work. <\/p>\n

I only have five last Gossie & Friends<\/em> to wrap up by the end of April, and then I am a free man! I will be caught up with all outstanding picture book contracts and will concentrate on my more ambitious, more serious writing, The Lay of Moel Eyris: The Saga of the Bear’s Son<\/em> (five volumes). The first book is titled The Secret Book of Moolstery<\/em>, and I am determined to have the final draft finished by September! And the screenplay for Islands on the Edge<\/em> (or The Kidnapping of the Boy with Red Hair<\/em>).<\/p>\n

My publishers will start publishing manuscripts that I have written but will not illustrate. Writing comes so much easier to me than doing the artwork!<\/p>\n

\"Mmm.Okay, the coffee’s brewed, and it’s time to get a bit more detailed with six<\/em> questions over breakfast. I thank Olivier again for visiting 7-Imp.<\/font> <\/p>\n

1.<\/font> Jules<\/font><\/strong>: What exactly is your process when you are illustrating a book? You can start wherever you\u2019d like when answering: getting initial ideas, starting to illustrate, or even what it\u2019s like under deadline, etc. Do you outline a great deal of the book before you illustrate or just let your muse lead you on and see where you end up?<\/font> <\/p>\n

Olivier<\/font><\/strong>: This is always a tough question, since I have several projects in the works at any given time. <\/p>\n

Basically, I begin in one of two ways: 1) I have a story idea and write it down and then do sketches of the character(s), or 2) I sketch an idea and then create\/write the story around the character(s). <\/p>\n

Note: Nearly all my books\/stories take place in the mythical world of Moel Eyris (Mole Island). I keep the detailed master map (the Myvyrrian Map) pinned to the bulletin board above my drawing board. I know this mythical world so well that it\u2019s fairly easy to create new characters and move them around in this archipelago environment. Most of my picture books are \u201cfolk tales\u201d from the larger Lay of Moel Eyris mythology. Clues can be seen in any given book as to where the story is set, based on architectural styles, beehive design, and type of character (bear, trow, maol, gosling, etc).<\/p>\n

For each book, I do a detailed map of the farm, buildings, cottage, and environs. A detailed aerial map and medieval perspective map of Gossie\u2019s Farm (24\u201dx30\u201d) makes it possible to know exactly where any given farm building is in relation to any other farm building, pond, pumpkin patch, scarecrow, haystacks, creek, Big House, Old Cottage, etc.<\/p>\n

Here is the map of Gossie\u2019s Farm:<\/p>\n

<\/a>
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(Click to enlarge slightly)<\/em><\/center>
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\nHere is the rough sketch for the map of Gossie\u2019s Farm:
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(Click to enlarge slightly)<\/em><\/center><\/p>\n

Quite often, I do detailed architectural plans, sections, and elevations of each building that appears in a book so that I know exactly how to move the character(s) through their immediate surroundings and geographical setting.<\/p>\n

I do not<\/em> outline a story before I write. I simply start at the beginning, consult my maps, and let the storyline progress in a natural and spontaneous and consistent manner. Neither I nor my editors do very much editing. At this point, because I know my characters and settings so well, only fine-tuning and a bit of tweaking is necessary.<\/p>\n

I work with three of the best editors in the publishing industry, who know my world and characters as well as I do!<\/p>\n

<\/p>\n

When I develop the characters for my books, I work on tracing vellum or tissue paper, very much like an animator might work, so that I can quickly and easily change the character\u2019s position and keep the character consistent.<\/p>\n

Then, I photocopy the tissue sketches and begin to create the finished layouts for the book:<\/p>\n


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