Q: Tails is filled with expressive animal pictures including peacocks, tigers, pigs, and alligators. How do you determine which expressions best reflect the animal you are representing in your illustrations?
A: I try to make the animals' expressions work with the visual "gags" I set up. The peacock, for instance, has a sort of show-off "proud as a peacock" expression. Look a little closer and you'll see that the female peacock is sticking her nose up at him—humpf!—but when you open the flap she's awed by his brilliant plumage—“oooh—what a man!” There's sort of a visual gag there, and I think it's one of those little details that you may not catch the first time that make the book fun to read over again.

I also try and use exaggerated expressions that kids will immediately recognize, like the "ding—what's that smell?" . . . look on the weasel’s face who's smelling the skunk or the hot pig whose tongue is hanging out. I personally relate best to the exasperated daddy alligator being attacked and cuddled by his kids.

Q: Why did you choose animal tails as the theme for this book?
A: Paula Wiseman, my editor at Harcourt, really wanted something with textures in it, so I used the texture requirement as my starting point. It took some time to find a theme that would use textures in a logical way without creating a book that appeared to have textures stuck in as an afterthought. Eventually "tails" popped into my head--I thought it might work because there are many aspects to them apart from the tactile quality. I also wanted the book to use board weight mechanical elements, something that I had been playing around with and thought would be perfect for the age group. I like the idea of moving parts, but was never a big fan of pop-up books for preschoolers because the mechanics are so easily damaged. I also liked the idea of spelling out the word "tails" with animal tails on the cover. I believed it would be a really fun and minimal cover design.

Q: Did you research live animals for this book or are your illustrations drawn from memory and experience?
A: I try to research the animals and see them at zoos if I can, but I also use reference books. I'm absolutely fascinated by animals of all kinds (especially insects), and love visiting zoos, farms and aquariums to gather references and get inspired. I majored in Biology in college, so my interest in science and natural history really began before I got into the art field.

While I try to make the animals I draw recognizable, I think it's more important to focus on expression and interactivity rather than accuracy.

Q: In the process of creating the final book, how did you and your editor determine which "tails" to use in the textured sections and which materials to use?
A: The editorial and production process on a book like this is fairly involved. I worked with my long time editor, Skip Skwarek, to hammer out the concept, text, and layout before I proceeded to make a finished dummy book. I created dozens of layouts, prototype mechanics, cover comps, and other materials that we talked over and edited until we both felt it was working. I then created a very finished hand dummy of the project with all the textures, mechanics, and in this case, fully drawn black and white sketches. This dummy was submitted to Harcourt and we worked with Paula to edit the project, bring down the price, and streamline the content. About a third of the original content of Tails was eventually edited out, but I think it's a stronger book for it. One of the more interesting novelties in the original version was a rattlesnake tail that really rattled--something that would have been great, but would have been too costly. As far as the textures go, I find or create the textures for my dummy and then it's up to the printer to source or manufacture materials to match the samples. I do all my own mechanicals and design to make sure everything will, or should, work from a technical standpoint. I also create finished hand-assembled books from the mechanicals and at other stages to check art alignment, construction and other issues.

I was absolutely thrilled when I saw the final production version of Tails—it was just perfect. I think anyone who sees it will agree it's one of the sturdiest interactive children's books out there.

Q: You are a versatile illustrator who creates not only children's book and packaging designs but also illustrations and cartoons for magazines and advertising. How did you get started in illustration and what part of the process led you to specialize in subjects for children?
A: I started doing single panel cartoons my last year in college and wanted to try and make a career out of cartooning after I graduated. I took night art production and cartooning classes while working a day job at a biochemistry lab, and eventually I got a job as a secretary ("werst spellar" ever, according to my boss, Isabel) in the art department at Grosset & Dunlap. At Grosset I started to learn about book design and production and eventually began to come up with children's book ideas--a natural merging of my book design and cartooning skills.

Like many people in the illustration and art fields I try as many things as I can and go with what works. My children's books have done very well, so while I still do illustration and design my main focus will remain on children's books.

Q: Where do you find the inspiration for your drawings? And in what media do you create them?
A: My inspiration and art style are from my cartooning, with my illustrations being more like extended group gag cartoons with animals. My biggest artistic influences are probably Charles Schultz and Jim Ungerer (creator of "Herman"), both of whom are cartoonists. My color artwork isn't that different from my cartoons: I sketch and erase (repeatedly) in pencil on watercolor paper, ink over it with India ink, and color it in with watercolors.

The design and mechanical work is done on a Macintosh system using Adobe's Illustrator, Photoshop, and Quark. There's actually a good deal of design work that is incorporated into the illustration because the illustrations have to work with the mechanics. The charm for a book like this is not only to have appealing illustrations, but also to make sure they work logically and seamlessly with the mechanics, novelties, and design.

Q: Describe a typical day in the life of Matthew Van Fleet.
A: I've actually been a stay-at-home dad for almost nine years. I tell the guys that I go to tractor pulls every day, but I think they're beginning to suspect something's up because all I talk about is laundry and potty training.

Alex, our first son, was born the year Fuzzy Yellow Ducklings was published. With the success of that book I was able to start working at home while my wife Mara continued to work outside of the house. Little did I know that working at home with kids is like trying to clean out a lion cage with a porkchop strapped to your back! And just when I was getting a break with Alex beginning kindergarten, our second son, Ryan, was born.

While Mara is at work my typical day is filled with food shopping, laundry, changing diapers, vacuuming, scrubbing toilets, arranging playdates, and mowing the lawn—although I tell people I'm actually gathering reference material. When Mara gets home, we switch. Unbeknownst to her I've trained Ryan to soil his diaper at exactly 5:35 p.m.

Q: If you were ever to change your specialty where would your artistry take you?
A: I would go into portrait painting but I can't seem to find any clients with small, bead-shaped eyes.