Let's Talk Illustrators #300: Cathy Fisher

From the moment I saw the cover of The Panda's Child, written by Jackie Morris, I was blown away (for more on that, check back tomorrow!). From the story to the illustrations to the book's design, The Panda's Child is super special, and I'm glad I get to share my interview with illustrator Cathy Fisher about it here today. Enjoy! 

About the book:

In a faraway forest a baby is lost and found, protected by a she-panda. Nine years later another baby, the panda's child, is in great danger, and only a boy and the spirit of the forest can save him.

And check out the endpapers:

Let's talk Cathy Fisher!

LTPB: How did you become the illustrator of The Panda's Child? What were the first images that popped into your mind when you saw Jackie Morris’s text?

CF: In February 2020, just before the Covid pandemic affected the UK, I returned from Australia (I have dual nationality) to visit my twin offspring during their final graduation year and to collaborate with author Nicola Davies on illustrations for her story, The New Girl. I then stayed at Jackie Morris's house in West Wales to look after her cats and dogs while she cared for her elderly parents. Sadly, Jackie's father passed away, and after his funeral, she returned home just as the lockdown began. Unable to leave, I ended up staying with Jackie in her home, working on The New Girl while Jackie worked in her studio.

One day, she slipped the text of a story she had written, The Panda’s Child, onto my drawing board. Jackie is the most brilliant illustrator, so it was daunting and thrilling to be asked to illustrate her story, but of course, I said “Yes!”

The story is written as a picture book for all ages, about a boy and a giant panda, an adventure story set a long, long time ago, spanning over nine years, exploring our vital connection with wild nature. So, as you can imagine, my mind was filled with vibrant images of ancient Asia, bamboo forests, deserts, mountains, the sound of crickets and cicadas, a mother and child and the Giant Panda.

LTPB: Can you talk about your research process for this book? How did your illustrations evolve throughout the course of creating the illustrations?

CF: I dedicated significant time to research before starting the final artwork. I went for long walks, thinking about images… hours of looking and thinking! I immersed myself in the story, and the perspective of each character, including the wildlife, I sketched extensively, developed page spreads in a rough storyboard and thought about the images with text placement. I made a dummy book to help me visualise the layout.

It was fantastic to have the opportunity to spend so much time with Jackie. We took long walks together and had deep discussions. I gained valuable insights into her poetic writing and beautiful storytelling. Our extensive conversations allowed us to delve deeply into the story and its concept. Given the length of the story, we decided that the book should be 64 pages, rather than the usual 32 pages, to accommodate both the illustrations and the text. To manage this, we structured the book into three chapters.

During our second lockdown, I began working on The Panda’s Child. It was a beautiful, quiet summer, and the light and atmosphere profoundly influenced the artwork. Halfway through developing ideas for the pictures, I returned to Australia to reunite with my husband (after sixteen months of separation due to the pandemic). I had to quarantine in an 'isolation hotel' in Sydney for fourteen days. I spent that time working on sketches and page spreads. Australia entered its first lockdown as soon as I joined my husband. We remained in Australia for six months. Again, the light and peaceful environment inspired my work. I dedicated every day and long hours to the final artwork. We returned to Wales together over Christmas and I completed the final artwork back in Pembrokeshire.

LTPB: What did you find most difficult in creating this book? What did you find most rewarding?

CF: Jackie and I share the same agent, who found us a fantastic publisher. Unfortunately, six months later, the publisher was acquired by another company that decided not to move forward with our book. I had already started working on the illustrations, so this was a significant disappointment and a challenging time. Fortunately, we were able to sign a new contract with Otter-Barry Books, a great publisher that understood the concept of our book and was wonderful to work with.

Collaborating with Jackie and our new publisher was especially rewarding. While I understand that the lockdown period was extremely difficult for many around the world, for me, it was beneficial, as it provided the uninterrupted time and space I needed to fully focus on the artwork. Immersing myself in a story helps my restless and noisy mind find peace. It is my way of connecting with the world and expressing emotions. I always feel a bit lost and adrift if I don’t have a picture to paint. Working on The Panda’s Child was a particularly enjoyable experience.

LTPB: What did you use to create the illustrations in this book? Is this your preferred medium? How does your process change from book to book?

CF: I sketched ideas and planned spreads with pencil in a sketchbook. For the final illustrations in this book, I worked on large sheets of heavy watercolour paper, using layers of watercolour and mixed media, including coloured pencils, pastels, and occasionally inks. I prefer the tactile approach of working with my hands, with brushes and beautiful paper. I work in a fairly tidy space, but I am a messy artist, splashing paint, ink, and water - almost all my clothes have splattered paint on them. Over the years, I’ve developed a process that feels natural to me; I enjoy the physical aspect of painting. I often take it outside and manipulate splashes and drips. For this reason, I find sitting still and working digitally quite challenging.

LTPB: What are you working on now? Anything you can show us?

CF: I recently completed the artwork for a new book written by Jackie Morris titled The Summer Puppy, which will be published in Spring 2025 by Otter-Barry Books. The book tells a tender story about a border collie named Rosie, who was Jackie’s companion and a beautiful soul I knew well. Sadly, Rosie passed away last year. Working on this book was a special experience for me, as it honours both Rosie and the stunning Welsh landscape where she lived with Jackie. I will soon start work on illustrations for a new book, but that will be kept under wraps until we have a contract.

LTPB: If you got the chance to write your own picture book autobiography, who (dead or alive!) would you want to illustrate it, and why?

CF: Gosh! I’m not sure I could face a picture book autobiography about me! I grew up in a chaotic family, on the outskirts of the city of Bath, with eight siblings. My life so far has been long and colourful, rich and varied, filled with a blend of challenging, wonderful, and joyous experiences, in England, Seychelles, Australia, and now Wales. I hope I can continue making pictures until the end!

If I couldn’t illustrate the book myself, I would probably be too shy to ask another illustrator. However, many great artists and illustrators have influenced me throughout my life. As a young child, our home was filled with old second-hand picture books. I cherished the art of Arthur Rackham and Edmund Dulac, the Br’er Rabbit pictures illustrated by E.W. Kemble, Cicely Mary Barker’s British Flower Fairies series, the Dr. Seuss books, Garth Williams’ illustrations for Charlotte's Web, and the works of Norman Rockwell. I adored picture books; they were my escape, and I learned to read by interpreting the pictures. The books from my childhood home and regular visits to the library, which also served as an art gallery, directly influenced my desire to become an artist.

When I left art school and started working, I was influenced by the music, textiles, and fashion scene, which led me to begin my illustration career as a fashion and book cover illustrator. The American artist and illustrator Brad Holland was a source of inspiration. I also greatly admire the work of British illustrator Brian Wildsmith for his vibrant colours and energetic style. Among current illustrators, I’m in awe of the beautiful, loose, and evocative artwork of Sydney Smith. Additionally, Australian artists Shaun Tan and Elise Hurst have left a significant impact on me. And, of course, I could ask Jackie Morris, who has an extraordinary body of beautiful artwork. However, I can picture her refusing my request and with a wry smile suggesting I illustrate it myself!

A big thank you to Cathy! The Panda's Child publishes TODAY from Otter-Barry Books!

Special thanks to Cathy and Otter-Barry for use of these images!

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