I have loved picture books ever since I was a child. The illustrations of Beatrix Potter and N. C. Wyeth were early favorites, and I always found any kind of animal story irresistible. I was an enthusiastic young artist as well, and I formulated pre-school plans to make drawing the center of my lifetime career. I used to dream up stories and illustrate them for my younger sisters, Patti and Martha. We called the activity: "Telling Stories on Paper." When it took place, I would sit between them with a stack of paper on my lap and a pencil in my hand, rattling off tales and scribbling illustrations to accompany them, and passing the pictures first to one of the girls and then to the other. I enjoyed these storytelling sessions enormously and I usually persevered until my sisters were too restless to sit there any longer, or until they were buried under pieces ofpaper.

I scribbled my way through elementary, junior- and senior-high school, and afterward I attended the Rhode Island School of Design, where I majored in illustration, and where I was particularly intrigued by the few projects we were given that related to the creation of picture books. I wasfortunate enough to win a fellowship that made possible a senior year of work and study in Florence, Italy. It was an exciting and fulfilling period for me, and I find that I draw constantly on the experience and images that I stored during my time there.

Upon my return to the United States I did some graduate work and teaching at American University, and at the same time I began submitting picture book ideas to various publishers. Itwas an exciting moment when the first acceptances came in, and I realized that I would be able to "tell stories on paper" full-time and to a much larger audience. I loved the challenge of putting the first books together, guiding them through the various stages of the publishing process, and thenwatching them disperse into the lives of their readers. And now, twenty-five years and almost ninety books later, I still find every aspect of my involvement just as absorbing andenjoyable.

During the time that I''ve been working on the picture books, I''ve lived in an old farmhouse in the hills of Connecticut which I''ve shared with my wife, Helen, and where I''ve raised six stepchildren, to whom most of my books are dedicated. Also in residence have been numerous dogs and cats, including a beloved harlequin Great Dane named Pinkerton, whose stubborn inadaptability during puppyhood inspired the book Pinkerton, Behave! The heroine of the sequel, A Rose for Pinkerton , was our senior cat, Secondhand Rose, an indcependent old grouch who was born a wild thing in the Catskill Mountains, and who devoted her long life to harassing everyone in the world, including Pinkerton.

The ideas for the other books come from lots of different sources, but most of them have their roots in feelings and images that I retain from my own childhood. I try to blend illustrations and the words so that each book is a feast for the eye and ear. I want the time that the reader shares with me and my work to be an enjoyable experience -- one that will encourage a lifetime association with pictures, words, and books.

Steven Kellogg talks about the art of the picture book
The picture book is an art form that is designed specifically for children, but I feel that it can be appreciated and enjoyed by all ages. For centuries a distinguished tradition of illustrated books and manuscripts has existed of which the picture book is a part. It is a synthesis of literature and the visual arts, and the relationship of the written word and the picture is its essence.I am fascinated by the ways in which the picture book can borrow and combine diverse elements from other art forms to achieve startling and moving effects.

The turning page, for example, gives the illustrator the chance to utilize the elements of surprise to advance the movement of the story, and to deepen the involvement of the viewer in much the same way that the theatrical director uses the revolving stages or the rising curtain between thescenes and acts of a play.

An awareness of movement is extremely important in the conception of a picture book. My favorite illustrators delineate their characters so that animation is implied. The individual spreads are designed so that they crackle with graphic vitality. The characters seem to speak, cavort, andleap from the page so energetically that their life and movement are totally convincing. The moving qualities of each picture are heightened by the placement of the turning pages within the unfolding narrative and by the conception of the book as a whole. It is here that one sees the relationship between the arts of picture book design and filmmaking, as both of them deal with thephenomenon of "moving pictures."

No one will deny that language can be musical, and certainly visual images can suggest different forms of music by the feelings that they convey. The musical qualities of the pictures and the words can be orchestrated by the artist as he moves them across the pages of the book. Rhythms and harmonies can be established on some spreads, and atonal effects or dissonances can be introduced on others.

There are limitless possibilities available to the artist, who sets up relationships and tensionsbetween the illustrations and the text, allowing magical discoveries and subtle revelations to emerge in the areas between. When this happens, there is an uncanny fusion of all the elements,and the dynamic new expression that is created introduces young readers to the world of art.

copyright © 2000 by Penguin Putnam Books for Young Readers. All rights reserved.
Quentin Blake lives and works in London, Hastings, and the South West of France. He first had drawings published when he was still at school. He has worked on over 200 books, sometimes as illustrator and sometimes as the writer too. In 1999, with the help of children from over 24 schools all over Britain, Quentin was selected to be the first Children''s Laureate. The children submitted a long list of questions for Quentin, here are his answers to a few of them.

" Your illustrations are very recognizable. What made you illustrate the way you do? "
"I am not really quite sure why I draw the way I do. It may be because I didn''t go to an art school, except for part-time lessons when I was already over twenty. But I don''t think that can be the whole explanation. It''s a kind of handwriting, and it does actually look rather like my handwriting."

" Did you first start to like books because of the words or the pictures? Do you like writing as much as drawing and painting? In Clown you didn''t use words at all. Do you think stories can be told as well without words? "
"I also enjoy writing words; though I think that sometimes it''s possible to tell a story entirely in pictures, as in Clown . One interesting thing about that is that it gives the reader the opportunity to invent words and I think it encourages you to think about, and perhaps discuss, what actually is going on and what the characters are thinking and feeling."

" When we read we make up pictures in our heads. Do you think having lots of pictures in a book helps that or stops it happening? "
"This raises a very interesting question. With my pictures, what I hope is that it encourages the reader to imagine more pictures of his own. But sometimes what the writer is putting into your head is so rich and visual that much in the way of illustration is superfluous. Probably you know the answer to this question (though I don''t think there is only one answer) better than I do."

" How did you feel when they announced the winner of the Children''s Laureate? Will it help your work or get in the way? What do you want to be able to do now that you are Children''s Laureate? "
"When I was told that I was winner of the Children''s Laureate I experienced quite a variety of thoughts and feelings. It was very gratifying to think that a lot of people (like you) really did like what I had done - it was an unmistakable sign of something that it is very difficult to imagine from inside yourself. At the same time I was aware of the problem (so are the organisers of the Laureateship) that, if I am not careful, it might distract me from the work of creating more books, which is what I do best. However, for a long time I was a teacher of illustration at The Royal College of Art, so I know something about how to do two jobs at once; and I hope that during my two years I shall be offered, or find, ways to encourage people to discuss words and pictures and the way they go together; and generally to rate children''s books at their true value."

" Have you any advice you can give us? "
"Well, difficult; because everyone is different. But I do know that, whether it is writing or drawing, you have to do a lot of it, and keep on doing it - that is the way to improvement. And don''t wait for inspiration, just start. Inspiration is some mysterious blessing which happens when the wheels are turning smoothly."

"At the moment I am at work on a book about my work and the way I do it. When it comes out - it won''t be before September 2000, I''m afraid - you may find in it more extended answers to your questions; I will try to make sure they are there!"

Quentin Blake has illustrated many of Roald Dahl''s books, in addition to other books for children. He lives in London, England.

Eric Carle is acclaimed and beloved as the creator of brilliantly illustrated and innovatively designed picture books for very young children. His best-known work, The Very Hungry Caterpillar , has eaten its way into the hearts of literally millions of children all over the world and has been translated into