I was lucky enough to talk to Akin Duzakin, illustrator most recently of Fly Away Home, written by Betty Quan. It was a pleasure picking his brain about this book and his process in general, enjoy learning more about both!
About the book:
On the wing, Little Bird witnesses the mass migrations of other animals: monarch butterflies, caribou, sea turtles -- and humans, too, including one little girl with a pink backpack. After her family finds asylum, Little Bird meets the little girl on a balcony in a new city -- a safe nest for both at last.
Let's talk Akin Duzakin!
LTPB: How did you become the illustrator of Fly Away Home? What were the first images that popped into your mind when you saw Betty Quan’s text?
AD: I was contacted by the publisher at Groundwood Books, Karen Li. She was familiar with another picture book I had illustrated for Groundwood, What the Kite Saw. These two books could be seen as sharing some thematic similarities, but I believe Karen was more focused on how I had approached the visual aspect. She felt that my way of creating images would suit this story well, as she had a particular vision for the overall tone of the book. She believed we could keep the text exactly as it was written but add a human dimension to the narrative through the illustrations. I found this idea very interesting and exciting. She had already considered some possibilities for how it could be done but gave me full freedom to explore my own solutions.
LTPB: Can you talk a little bit about the visual evolution of Fly Away Home? As you got to know the characters, how did your illustrations evolve?
AD: I thought the text was poetic and open, giving me plenty of creative space as an illustrator. I immediately began planning images that would expand on the author’s story. After reflecting on various possibilities, I settled on the idea of telling a parallel visual narrative alongside Betty’s text. A story within the story, focusing on the people forced to flee. The inspiration and central idea were always rooted in Betty’s lines, and I could invent images that mirrored the thoughts and emotions already conveyed about the protagonists in the text — the birds. These three birds, who had to leave their home to find a new safe place, became my guides as I drew the human characters. This resulted in two narratives unfolding in parallel: one often in the air, and the other on the ground among the people.
LTPB: What did you find most difficult in creating this book? What did you find most rewarding?
AD: I think it is always important to find the right balance between the gravity of the story and avoiding descriptions of frightening, violent, or overtly political conditions. The images needed to be safe for young readers, yet still convey something truthful and important about the sad, tragic, and serious events affecting these people. Portraying the state of the world today in an honest way, without frightening children, is a difficult balance. I believe I managed to suggest enough to open up conversations about these events and allow children and adults to explore questions together. I enjoy projects like this because they give me the chance to create images that communicate thoughts and emotions through meaningful stories, making me feel that I am not a silent, powerless witness to the injustices affecting ordinary people like me and those I love. It feels like the unrest inside me becomes a little easier to bear.
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?
AD: I created the images in the traditional way I have always worked in over my 30-year career. That means I draw and paint them on a drawing table. I used mostly soft pastels and colored pencils to illustrate Fly Away Home. Soft pastels give me smooth and soft color fields, which I then refine with sharp colored pencils to bring out details. I rarely use water-based paint unless I need sharper edges or very delicate and precise details with brushes. Afterward, I scan the drawings to review them one last time on screen. Before finalizing the process, I may digitally add or remove some details and adjust colors. Some areas might be darkened or lightened to achieve the desired effect. In some cases, I add new tones digitally here and there.
LTPB: What are you working on now? Anything you can show us?
AD: Currently, I am illustrating a calendar for a foundation that supports children and families facing challenges related to safe upbringing. Unfortunately, I cannot share anything from this ongoing project, but I can gladly show an image from the previous calendar I made for the same client. After summer, I have two picture books scheduled. I am already looking forward to starting them. I might change my working method or the techniques I use from one book to another, but the differences will not be so drastic that they appear completely different.
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?
AD: Such an interesting question! I hope Pablo Auladell has the time and desire to take on the job. I love his illustrations. His sensitive, dusty line and his very classical yet modern figures and shapes create a universe I would very much enjoy living in.
AD: I was contacted by the publisher at Groundwood Books, Karen Li. She was familiar with another picture book I had illustrated for Groundwood, What the Kite Saw. These two books could be seen as sharing some thematic similarities, but I believe Karen was more focused on how I had approached the visual aspect. She felt that my way of creating images would suit this story well, as she had a particular vision for the overall tone of the book. She believed we could keep the text exactly as it was written but add a human dimension to the narrative through the illustrations. I found this idea very interesting and exciting. She had already considered some possibilities for how it could be done but gave me full freedom to explore my own solutions.
LTPB: Can you talk a little bit about the visual evolution of Fly Away Home? As you got to know the characters, how did your illustrations evolve?
AD: I thought the text was poetic and open, giving me plenty of creative space as an illustrator. I immediately began planning images that would expand on the author’s story. After reflecting on various possibilities, I settled on the idea of telling a parallel visual narrative alongside Betty’s text. A story within the story, focusing on the people forced to flee. The inspiration and central idea were always rooted in Betty’s lines, and I could invent images that mirrored the thoughts and emotions already conveyed about the protagonists in the text — the birds. These three birds, who had to leave their home to find a new safe place, became my guides as I drew the human characters. This resulted in two narratives unfolding in parallel: one often in the air, and the other on the ground among the people.
AD: I think it is always important to find the right balance between the gravity of the story and avoiding descriptions of frightening, violent, or overtly political conditions. The images needed to be safe for young readers, yet still convey something truthful and important about the sad, tragic, and serious events affecting these people. Portraying the state of the world today in an honest way, without frightening children, is a difficult balance. I believe I managed to suggest enough to open up conversations about these events and allow children and adults to explore questions together. I enjoy projects like this because they give me the chance to create images that communicate thoughts and emotions through meaningful stories, making me feel that I am not a silent, powerless witness to the injustices affecting ordinary people like me and those I love. It feels like the unrest inside me becomes a little easier to bear.
AD: I created the images in the traditional way I have always worked in over my 30-year career. That means I draw and paint them on a drawing table. I used mostly soft pastels and colored pencils to illustrate Fly Away Home. Soft pastels give me smooth and soft color fields, which I then refine with sharp colored pencils to bring out details. I rarely use water-based paint unless I need sharper edges or very delicate and precise details with brushes. Afterward, I scan the drawings to review them one last time on screen. Before finalizing the process, I may digitally add or remove some details and adjust colors. Some areas might be darkened or lightened to achieve the desired effect. In some cases, I add new tones digitally here and there.
LTPB: What are you working on now? Anything you can show us?
AD: Currently, I am illustrating a calendar for a foundation that supports children and families facing challenges related to safe upbringing. Unfortunately, I cannot share anything from this ongoing project, but I can gladly show an image from the previous calendar I made for the same client. After summer, I have two picture books scheduled. I am already looking forward to starting them. I might change my working method or the techniques I use from one book to another, but the differences will not be so drastic that they appear completely different.
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?
AD: Such an interesting question! I hope Pablo Auladell has the time and desire to take on the job. I love his illustrations. His sensitive, dusty line and his very classical yet modern figures and shapes create a universe I would very much enjoy living in.
A big thanks to Akin for taking time to answer questions! Fly Away Home published last month from Groundwood Books.
Special thanks to Akin and Groundwood for use of these images!
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