I was so lucky to grab illustrator Zuzanna Celej for a quick chat about her newly illustrated book The Vase with the Golden Cracks, written by Fran Nuño. This is a special book for so many reasons, and I'll let Zuzanna tell us more about the story and illustrations, but I would be hugely remiss if I didn't point out that one of the most special parts of this book literally has to be felt to be appreciated: The pages of the book are made from stone, not trees! This gives the book quite the unique tactile experience, and it's one of many excuses to run out and find it in person. Enjoy our interview about the illustration process for The Vase with the Golden Cracks!
About the book:
In a remote part of Japan, a precious tradition is passed down from father to son. Every day, a vase is filled with magical words. And, like breadcrumbs marking the right path, they will guide our protagonist to find his meaning in life, or Ikigai. But first, when the vase breaks, far from guilt or regret, the art of Kintsugi will teach him the importance of focusing on learning and the meaning of second chances.
Let's talk Zuzanna Celej!
LTPB: How did you become the illustrator of The Vase with the Golden Cracks? What were the first images that popped into your mind when you saw Fran Nuño’s text?
ZC: I have been working as a professional illustrator for about 15 years, and Ana Eulate, the Founder and CEO of Cuento de Luz—my dear Ana—was one of the first publishers to believe in me when I was still a novice illustrator. I published my first picture book with her and have continued working with her throughout all these years.
The Vase With the Golden Cracks is my 80th illustrated project and the third one with Fran Nuño. When I received the commission from Cuento de Luz, I already knew I would love it. It is the second title in a collection set in the East, and I was eager to read it.
My first thought was that I wanted to give it continuity with the previous title, The Dance of the Bees, while at the same time doing something different—giving it its own personality. A true challenge, as every new project that comes into my hands is.
LTPB: What is the first thing you do when you receive a new project? How do you make a conscious effort to tailor your illustration style to each new manuscript?
ZC: When a new project arrives, the first thing I do is read it several times. I dive into the story, trying to capture its atmosphere, texture, color, and soul. This is the foundation of everything, and I devote a great deal of time to research before making even the first pencil sketch. I probably spend as much time researching the theme, the settings, the customs, and the characters’ personalities and emotions as I do creating the final illustrations.
From there comes a stream of sketches of scene compositions and characters. I constantly go back to the notes I took during my research, trying to ensure the illustrations accompany the text without revealing too much, while also telling visual details that go beyond the words. Every written work has a different soul; each text deserves a unique approach, a pictorial style that makes it shine with its own light.
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?
ZC: The illustrations for The Vase With the Golden Cracks were created using watercolor, colored pencils, and collage on paper. Collage is a technique I love and have been working with for several years. I discovered it works beautifully in combination with watercolor. This time, I experimented a lot with the transparency offered by tracing paper.
I enjoy experimenting and seeing where it takes me. I love the fluidity of water-based media, the happy accidents that happen on paper, and the surprises they bring—making the most of them and sometimes trying to provoke them. Watercolor often has a life of its own on the page. I can’t imagine working with just one technique forever, although I remain faithful to handmade, “analog” work. Right now, I dream of volume—collage is only the first step…
LTPB: What are you working on now? Anything you can show us?
ZC: I recently finished a picture book project for a British author. It’s a classic and timeless story about friendship and kindness beyond the boundaries of speciesism. I’ll soon be able to share some pieces on my social media, and it will be reaching bookstores shortly. I’m also preparing my next exhibition at an art gallery in Barcelona.
The upcoming projects are still a secret.
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?
ZC: If I ever had the opportunity to publish an illustrated autobiography, I would find it incredibly hard to choose a single artist to illustrate it—there are just so many I admire. So, I’d probably want it to be illustrated by all of them. I’m more certain about who I’d want to write it: I wouldn’t mind if it were written by Dickens, or Wisława Szymborska, or Josep Lluís Badal, or Maria Parr… or Fran Nuño.
A million thanks to Zuzanna for taking time to answer some questions! The Vase with the Golden Cracks published earlier this year from Cuento de Luz.
Special thanks to Zuzanna, Cuento de Luz, and Publisher Spotlight for use of these images!
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