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Michael Foreman grew up in Pakefield, a fishing village on the Suffolk coast in England. He studied at Lowestoft Art School and at St Martin's School of Art, and was a student at the Royal College of Art Throughout his career, Michael has worked with many well-known authors, as well as creating his own stories. To date he has published some 250 books and has garnered much recognition along the way. His collaboration with writer Michael Morpurgo has been particularly fruitful, and he has also illustrated many English children's classics. Growing up during the Second World War and Michael's picture book A Child's Garden: A Story Michael lives with his wife in St Ives in Cornwall, England. ........................................... [On A Child's Garden] The use of colour was an important element. The boy's world of rubble is without colour until the tiny green plant appears. As the plant is nurtured, colour gradually comes into the ground. Colour spreads as the plant grows and recedes as the plant is pulled down. Fortunately, roots are deep and seeds spread – and so does the colour. ... I have worked on assignments from the Arctic to the South Seas and always travel with a note/sketch book in my pocket. On my first attendance at Saturday morning art class, aged about 11, I was handed a sketch book and taken outside to draw the real world. I loved it. Still do. Even so, during my travels I have often sketched on local ephemera – beer mats, napkins, backs ... When illustrating a Classic I like to bring something personal to it. I set Alice in Wonderland in Cornwall, where I have a studio. The Wind in the Willows I tried to give a 'sketch book feel' as if I was there on a riverbank and sketching the action as it happened. A Christmas Carol has scenes of my mother's shop. My favourite Classic remains Treasure Island – the first proper book I ever read. Again, it features the Pub and some local characters from St Ives in Cornwall. ... With my own books the idea comes first, of course, but it could be a 'visual' or a 'story' idea. Either way, I work out the texts and visuals at the same time in my pocket notebook, as I am travelling around. As I develop the pictures, I can usually get rid of some of the text, since the pictures will tell some of the story. ... [About his use of a characteristic shade of blue] That blue is the blue of shallow seas over white sand – the blue that lifts your heart. The blue of our family’s happiest times. ... [I would send A Child’s Garden] To any land divided by a fence, race or religion. Posted October 2011 |
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