 |
 |
Interview with Leo and Diane Dillon, Between Heaven and Earth |
 |
| Leo and Diane Dillon are two-time Caldecott medalists and have together illustrated more than forty books, including Aïda (Harcourt, 1990); Pish, Posh, Said Hieronymus Bosch (Harcourt, 1991), The Girl Who Dreamed Only Geese: And Other Tales of the Far North (Harcourt, 1997); and Mansa Musa: The Lion of Mali (Harcourt, 2001). They live in New York City. |
|
Synopsis |
|
| For centuries birds and their magnificent ability to fly have inspired tales of mischief, mystery, and enchantment. In a collection that is as beautiful as it is timeless, award-winning author Howard Norman and Caldecott medalists Leo and Diane Dillon offer five bird stories from around the world—including one about an elusive bird that sings like a warthog and another about a much loved quail dying of thirst.
|
|
Interview |
|
Q: Since 1970 you've illustrated more than forty books together, including five Harcourt titles: Aïda by Leontyne Price (1990); Pish, Posh, Said Hieronymus Bosch by Nancy Willard (1991); The Girl Who Dreamed Only Geese: And Other Tales of the Far North by Howard Norman (1997); Mansa Musa: The Lion of Mali by Khephra Burns (2001); and most recently, a second book with Howard Norman, Between Heaven and Earth: Bird Tales from Around the World (2004). How do you decide which illustrative style to use when you begin a book?
A: Sometimes the missus suggests a style. For instance, The Girl Who Dreamed Only Geese was a collection of tales from the Far North so we used the stone-cut style of the Inuit people. On the other hand, we were looking in our archives and ran across a style we had done many years before and never did again. We both thought that style would be great for Between Heaven and Earth.
Q: The illustrations in Between Heaven and Earth are reminiscent of stained glass windows or mosaics, which is appropriate for this collection of stories. In fact, each of your books differs in style depending on the subject. As an illustrating team, what happens if you disagree about a style?
A: We suggest ideas to each other until one clicks. We've learned that eventually we will come up with an idea we both can get excited about.
Q: When a publisher contacts you with a manuscript, what attracts you to a project?
A: Sometimes it's the message or interesting subject matter. Sometimes it's a story full of visual possibilities. Also, we look for stories that are inclusive of other cultures.
Q: In many of your online biographies and interviews, the idea of a "third artist" is discussed. Can you explain that concept?
A: The third artist is the collaborative artist; it is a combination of the both of us. The work we do together is different than what we do separately. We have learned to "let go" and let the art develop as it changes hands. We have learned to accept the unexpected and build on that.
Q: Since your first children's book, The Ring and the Prairie (1970), how have you grown together or individually as artists?
A: We have learned to trust each other and not to try to control everything. After forty years of working, we have become more confident and, hopefully, more in control of our techniques.
Q: After almost fifty years of marriage, just as many years as sought-after illustrators, and countless honors—including two consecutive Caldecott Medals and four New York Times Book Review Best Illustrated Children's Books of the Year—what's been your proudest moment?
A: Professionally, we appreciate the honors and awards. We were inducted into the Society of Illustrators Hall of Fame. That was meaningful, coming from our peers. Personally, we are most proud of our son, Lee.
Q: Your son, Lee, is a painter, sculptor, and jewelry craftsman. He worked with you on Nancy Willard's Pish, Posh, Said Hieronymus Bosch. How did he contribute to the illustrations?
A: Lee did the frames for Pish, Posh, Said Hieronymus Bosch, which added the third dimension. He also did some of the painting. All three of us were passing the art back and forth. Now Lee and his partner, Greg, have a greeting card company called Fusion Designs NY.
Q: During your artistic careers, you've created book jackets, posters, album covers, and advertising pieces. In recent years what have you worked on in addition to children's books?
A: We started out doing science fiction and fantasy covers and are still doing those. The most recent is a series by Garth Nix. We also decorated goose eggs for Open Fields School for its auction. That was fun.
Q: What's keeping you busy in your respective studios now?
A: We are working on a picture book titled Earth Mother by Ellen Jackson. It will probably be out in fall of 2005.
Q: How can your fans keep track of you and your work?
A: Well, we don't have a Web site, so we aren't sure. The computer is a
great tool, but we would rather spend our time at the drawing boards.
 |
|
|
