Children's illustrator Q+A Archives -

An Interview with Ishita Jain – Debut Illustrator of The Forest Keeper

April 6, 2023
goodreadswithronna
Activism, Ages 5-9, Children's Books > Science, Earth Day, Environment & Ecology, Flora & Fauna, Holidays & Celebrations, Illustrator interview, India, Juvenile Nonfiction, Juvenile Nonfiction - Biography/Autobiography, Multicultural Stories, Nature & the Natural World, People & Places, The Environment

AN INTERVIEW WITH ISHITA JAIN

ABOUT HER ILLUSTRATOR DEBUT

THE FOREST KEEPER:
The True Story of Jadav Payeng

(NorthSouth; $18.95, Ages 5-9)

INTRO:

I’m honored to have been invited to host this NorthSouth Books interview exclusively in the U.S. Elena Rittinghausen, Zurich-based editor of NordSüd Verlag/NorthSouth Books recently spoke with Ishita Jain, debut illustrator of The Forest Keeper written by Rina Singh, (on sale April 18 and available for preorder now), and the timing couldn’t be better as we approach Earth Day 2023.

INTERVIEW:

Elena Rittinghausen: What part does nature play in your life? How would you describe your relationship with nature? For you personally, what is the main lesson we can learn from this true story?

Ishita Jain: I consider myself a part of nature, all humans are, even though it’s easy to forget it in our fast-paced lives. I grew up in New Delhi and now live in New York, both of which are big, urban cities, yet I have been fortunate to spend a lot of my childhood and my present days in the midst of greenery.

The Forest Keeper endpapers — Endpapers by Ishita Jain from The Forest Keeper by Rina Singh, NorthSouth Books ©2023.

When I moved to NY, I was often homesick, and trees and parks became a source of comfort to me. I love going on long walks and it is fascinating to watch the seasons turn in my neighborhood. The same tree that is lush green turns to a fiery red in the fall and is then almost unrecognizable in the winter. Watching all these visceral changes in natural things around me has made me far more open to change and evolution within myself.

I am often told that individual acts matter very little when it comes to changing the world- that it all comes down to corporations and government policies. I don’t entirely agree, and this story is a reminder that no matter how small you are, you matter and even if you can’t change the world, you can change your world around you.

The Forest Keeper wholebook Page 05 — Interior spread from The Forest Keeper written by Rina Singh and illustrated by Ishita Jain, NorthSouth Books ©2023.

ER: You’ve lived in the US for some years now. Did it feel special to go back to illustrating a story set in India?

IJ: It’s interesting, the longer I live in the U.S., my sense of identity of being Indian and thinking of India as my home only grows stronger. So, in some ways, it didn’t matter where I was when I illustrated this book. Though I did illustrate some of the trees for the endpapers while I was in India, and to be drawing a neem tree when there is one right outside your window makes the process so fun!

The Forest Keeper wholebook Page 11 Jadev watering plants — Interior art from The Forest Keeper written by Rina Singh and illustrated by Ishita Singh, NorthSouth Books ©2023.

ER: What was your first thought when you received our e-mail asking if you wanted to illustrate for a Swiss publisher?

IJ: This is my first picture book and when I got the email from you, I thought it was wild that someone was asking me to do this because I have very few drawings of kids, or even people in my portfolio! I am so grateful that you took that chance because I enjoyed the process, and it was a huge learning curve for me.

Funnily, the first time when I traveled outside of India was to Switzerland. I was 10 or 11 and my grandparents took me with them to Lucerne and I have very vivid memories of that trip. I used to spend all the loose change from the day on ice creams and for years, if anyone I knew went to Switzerland, I would jokingly ask them to bring me an ice cream. I was very close to my grandfather and I think he would have been thrilled to know that I got to work with a Swiss publisher!

The Forest Keeper wholebook Page 16 hungry elephants smashing huts — Interior spread from The Forest Keeper written by Rina Singh and illustrated by Ishita Jain, NorthSouth Books ©2023.

ER: How did you approach the illustrations? Which technique did you use? Did you look for specific references for your images?

IJ: I love working analog and all the pictures are done in ink and watercolor. For this book, I also did my thumbnails as loose little paintings. It was important for me to get a sense of the color, texture, and mood in the sketch phase to be able to proceed to finals. I also made a tiny dummy to flip through to get a sense of the page turns and the visual pacing of the story.

The Forest Keeper Ishita Jain's thumbnails — Ink and watercolor thumbnails by Ishita Jain from The Forest Keeper by Rina Singh, NorthSouth Books ©2023.

In some illustrations, all the elements are painted separately and then stitched together digitally. This gives me the flexibility to make changes without having to start from scratch. Other times I just go for it and love embracing the unpredictability that comes with watercolor.

India is huge and very diverse in terms of its people, its culture, and its geographies. I am from Delhi, which is quite far, and different, from Majuli. I did extensive research and referenced movies, news, documentaries, and the work of photographers from Assam and the northeast to make sure that I understood the flora and fauna, the physical features of the locals, their attire, and the visual geography of the region. I also looked for videos about the Brahmaputra floods, time lapses of bamboo growing, and travelers’ videos of Majuli to get a sense of the overall environment.

Ishita Jain's Studio — Studio of The Forest Keeper illustrator Ishita Jain

ER: Would you like to illustrate picture books in the future?

IJ: Without a doubt, yes!

Thank you Elena Rittinghausen and NorthSouth Books for this exciting opportunity to introduce Ishita Jain and her artwork to readers here in the U.S.

Click here to order a copy of The Forest Keeper today

Click here to read an interview with The Forest Keeper author Rina Singh

Get a teacher’s guide here.

Jain Ishita ©Anirudh-Garg 2021 sRGB — Photo of illustrator Ishita Jain ©Anirudh-Garg, courtesy of NorthSouth Books

ILLUSTRATOR BIO:

Ishita Jain is an illustrator from Delhi, India, though she is now based in New York. She is an alumnus of the National Institute of Design, Ahmedabad, India, and the MFA Illustration as Visual Essay Program at the School of Visual Arts, New York. Ishita loves to draw on location and enjoys documenting the people, places, and stories that surround her. Her work is inspired by day-to-day moments and the wonder that comes from being around nature. The Forest Keeper is Ishita’s first picture book. Find her on social media here: @ishitajain24

Little Red and the Big Bad Editor: An Interview with Rebecca Kraft Rector and Shanda McCloskey

LITTLE RED AND THE BIG BAD EDITOR

Written by Rebecca Kraft Rector

Illustrated by Shanda McCloskey

(Aladdin BYR; $18.99, Ages 4-8)

NOTE FROM RONNA: As a grammar fanatic, I’m thrilled to be able to share this fun and informative interview by Moni Ritchie Hadley with Rebecca Kraft Rector and Shanda McCloseky, author and illustrator respectively of the new picture book LITTLE RED AND THE BIG BAD EDITOR. Celebrate its book birthday with us by reading on because I know you’re going to devour this chat!

INTERVIEW

Moni Ritchie Hadley: Welcome, Rebecca Kraft Rector and Shanda McCloskey! Thank you for taking the time to chat about your new book and writing and illustration processes. Rebecca, this story creatively spins a popular fairytale with a new narrative. What was the original pitch for LITTLE RED AND THE BIG BAD EDITOR?

Rebecca Kraft Rector: In this fractured fairytale, the Big Bad Wolf is so distracted by Little Red’s poorly written thank you note to her grandmother that he keeps missing the chance to eat her.

MRH: Based on the educational subject matter and the structure of a fractured fairytale, this story seems to be the type of book a kid would love, and a parent or teacher would want to purchase. How did you come up with the concept?

RKR: I like to play with words and came up with Little Red WRITING Hood. The idea that Little Red’s poorly-written thank you note to Granny would distract the Big Bad Wolf grew from there.

MRH: Do you begin your stories with pencil and paper or on the computer?

RKR: I mostly use the computer, but I also jot down phrases and ideas in a notebook that I keep beside my bed. Some of my best ideas come when I’m only half awake.

MRH: Today, kids primarily use technology to communicate. Do you feel that kids will relate to a thank-you note written with pencil and paper?

RKR: I hope so! Kids still use pencil and paper in the early grades, and the Common Core Standards include things like using capital letters and punctuation. I’ve heard from teachers that there’s even a letter-writing unit in most first-grade classes.

MRH: Shanda, as the illustrator, what attracted you to this manuscript?

Shanda McCloskey: The happiness I felt when I read it for the very first time! Rebecca definitely knows how to have fun with words :)

Little Red int1 oresent — Interior spread from Little Red and the Big Bad Editor written by Rebecca Kraft Rector and illustrated by Shanda McCloskey, Aladdin BYR ©2022.

MRH: Can you tell us about your process?

SM: I spent a few days drawing/redrawing character look possibilities for this book. When I saw something good in a character sketch, I would just “follow the light” and then tried drawing the character again, leaving in the good and stripping the bad, over and over until the characters felt “right-ish.”

LITTLE RED AND THE BIG BAD EDITOR was drawn digitally, printed onto paper, and painted with watercolors.

Little Red’s cape had to be red (obviously), so I started there. I found that Little Red popped best when her colors were warm in contrast to a cooler background. Wolf needed to blend into the background sometimes, so he is cool-toned as well. Then, I stuck in some of my favorite colors for fun, like Little Red’s pink and purple outfit.

The first dummy took me two months or so. Then it went through a couple of versions with feedback from the publishing team over several months. Things like character consistency, spread variation (ex., full bleeds, vignettes, panels), hair and skin color, etc., were tinkered with.

MRH: Were you able to collaborate?

RKR: No.

MRH: Shanda, when illustrating a book based on an existing story, how do you separate the images of the past and make them fresh?

SM: It happens automatically when you are working with new characters in a new world. But it’s also cool when my “style” shows through in all my books, at least a little bit. Also, every book is a leveling-up experience for me. There may be a new technique I’m using or a mood I’m trying to achieve. There’s always something in my craft to tinker with or improve upon with each book.

MRH: You are an author of children’s books as well as an illustrator. Is it easier to illustrate someone else’s words or to illustrate your own? How is the process different?

Little Red int2 swoop — Interior art from Little Red and the Big Bad Editor written by Rebecca Kraft Rector and illustrated by Shanda McCloskey, Aladdin BYR ©2022.

SM: They both have various perks! When illustrating my own stories, I can add a speech bubble with a joke if the notion hits me. But it’s not really my place to do that when I’m illustrating someone else’s words. But on the flip side, having limitations can sometimes be nice and clean, and it sure is nice to launch a book with a partner. If it flops, it’s not just on you!

MRH: Rebecca, this is your second picture book. Where do you usually get stuck in the writing process, and how do you get out of it?

RKR: Ha! I get stuck all over the place—the beginning, the middle, the end—everywhere! Sometimes I’ll print out what I have, and seeing it on paper makes it easier to figure out what to do next. If I can let myself play and have fun with the story, I find my writing goes more smoothly. My critique groups are big help with both brainstorming and pointing out where I’ve gone astray.

MRH: Are you more like Little Red or the Big Bad Editor? How so?

RKR: Hmm, I guess I’m more like the Big Bad Editor because, like him, I’m frequently frustrated by bad grammar and punctuation.

SM: Hmmm. I identified with both of them! I can definitely be a stickler for what I think is “the right way” to do something. But I can also appreciate how Red didn’t wait until she had a perfect letter to say thank you to her granny. She just went for it and improved along the way! #amwriting #amillustrating

MRH: Are there any other secret insights that you can share about this book?

RKR: Unlike all the other stories I’ve written, I wrote the last line first. Also, the entire time I was writing and revising the story, I thought I was filling the story with fun metaphors. Nope! Every single one was really a simile. I still can’t write metaphors.

SM: I put my own real kids’ artwork on the refrigerator in Granny’s kitchen :) And there’s usually some nod to a book I’ve previously worked on. Such as the fire truck (FIRE TRUCK VS. DRAGON) and the snuggle bunny (BEDTIME BALLET) on Little Red’s shelf in her room on the first spread.

LITTLE RED AND THE BIG BAD EDITOR releases today! Thank you both for chatting with us.