Illustrator and tattoo artist Barkha Lohia has created stunning art in Walking in the Wild for Pratham Books this year. 

Barkha lives in Gurgaon, Haryana. She loves working on morbid illustrations, tattoos, paintings of bird and trees and can be found drinking chai at any given time. She is currently working on a poem-based picturebook.

In this short email interview, Pratham Books' Assistant Editor Zeba Imtiaz talks to Barkha about her illustration approach and inspiration.

 

 How do you find inspiration for your work?

I take inspiration from everywhere, but mostly nature. I love reading, so that influences my work as well. Then there are events in your life and people around you that also flow back into the work. Sometimes it’s a conscious decision, sometimes it just flows - without much thought about what should be the subject or the output.

We know that you are a tattoo artist as well. Could you tell us more about your journey as a tattoo artist - the decision to be one, what drew you to it, and so on?

My maternal grandmother and paternal great grandmother had a lot of tattoos on their bodies. In India, communities have had a rich tradition of tattooing and the case was same here. As a child I was very fascinated with the ink on their body and would often ask them what it meant, or why they got it done. Growing up, shows like Miami Ink, LA Ink influenced me as well. The creative process of it all was really intriguing. How one took a concept and made something so personal for the client, to be permanently inked was very fascinating to me. Also, I really connected to this art form, I'd often keep doodling on myself or my friend's skin in school and college. I decided to go for it when I was working as an illustrator at my second job. I ordered a kit for myself to practice and decided later on to join a studio as well. It’s been great fun.

      

Do you find that your work as a tattoo artist influences your other work, or vice versa?

I don't think it has till date. In my case, since I love working with nature - the theme has trickled down to the various mediums I use - be it tattooing or illustration. I also feel that I'm still experimenting and not really down to one style, so I think I have the liberty to go at different styles in different mediums. With tattooing, you have to keep some aspects in mind while drawing - with regards to what will work on a live canvas. So, it has its own limitations and set rules that are not there for traditional illustrations for books and such. Illustration on paper, digital illustrations are more freeing.

Is this your first time illustrating for children? What do you most enjoy about illustrating for children, and what are the challenges?

Yes, this was my first time illustrating for kids. I have worked on smaller projects before but not on a complete book. I learned a lot during the process and it was great fun. I remember as a kid, I would pore over pictures and paintings in books and really look at them for long hours. Simply in terms of story, what must this character be doing, why is this cat here in drawing, etc. I was just creating a different world altogether. And I think kids tend to do that. They will put more into text, drawing and story in more ways than we do. So, I was trying to create that. I can't say what works for them since this is my first time illustrating for them, but if asked to do something I'd probably make a completely wacky world for them, filled with strange characters, peculiar sights, familiar sights. They would connect more with a talking bird than we'd ever. I think my style would be like that. With this book, the challenge came with the brief to have a more realistic character rather than cartoony. So, mostly it was to get the real look of a forest and the ongoing events and to do justice to the story of Zakhuma. And still make it engaging for the kids.

What kind of preparation and research went into illustrating Walking in the Wild?

I was provided with a brief about the place and Zakhuma. I was given his picture and his daily activities and asked to make a character that was more realistic than cartoony. I developed the character of Zakhuma first and then later on worked on the surroundings of the forest. I looked through a lot of pictures and articles on Dampa tiger reserve and the forests in Mizoram to get a feel of the place. Same goes for the animals, birds in the story. Rough layouts were then made for the pages, which were then discussed with the art director - for suggestions and iterations before working on the final drawing. Similarly for colouring in the pieces, some rough coloured layouts were shared with the Pratham Books team to collectively decide on which would suit the overall theme better.

Walking in the Wild is filled with beautiful and detailed drawings of different animals. What did you most enjoy drawing?

I really loved the scenes where different animal descriptions were to be given. I particularly enjoyed illustrating the opening scene and the moonlit scene of the Dampa forest reserve.

 

 

If you had to choose one medium for your art, what would you pick?

I don't think I can decide on one. I love working with different mediums. Each lends a different feel to the work. That being said, I enjoy doing more hand drawn stuff than digital - be it acrylics, oil paints, posters etc.

Who are some artists you admire?

There are many! When it comes to picture books - Shaun Tan is someone I'm really inspired by. His work is phenomenal. Lots of tattoo artists as well - Dzo Lama, Balaz Bercsenyi, Sol Tattoo in particular. Lots of Indian artists - Hemlata Pradhan, Rajiv Eipe, Sajid Wajid Shaik, Abhishek Singh. There are many actually. I can only think of a few right now. 

How do you deal with creative blocks?

Not well. I don't like that part at all. I think I take to binge watching T.V. series and books to get over it and walks.

You can read Walking in the Wild on StoryWeaver for free. This is available in Hindi, Marathi, Kannada, Tamil, and English. 

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Bhavana Vyas Vipparthi, has lived and studied in Bangalore all her life. Having finished a Fine Arts course at Srishti, School of Art Design And Technology, she went on to do a masters in animation film design at NID in Ahmadabad. Her mind is now consumed by her terribly talkative three and a half year old son and  perfect dog. She makes up a million stories a day to stay sane. You can find her work on https://vimeo.com/thestudiospaceman. She has illustrated two books for Pratham Books, 'A Cloud of Trash' by Karanjeet Jaur and 'Absent-minded Ajja' by Arundhati Venkatesh.
 

Graphic Designer Vriddhi Chaudhry had some questions for Bhavana about her work in mixed media, and her ideal 'art day' at home and shared them with her over email. Here are Bhavana's answers. 

1.How did you develop your personal style? Have there been any significant events or projects that led to this development?

I have always been comfortable working with mixed media. If given a free reign without any client restrictions on style and treatment, the mixed media monster always takes over the playing field. From my diploma project in Art School (a wordless picture book) to animation art-boards that followed , the wonderful play of drawings, cutouts and reality has always excited me.

2. What is your creative process like? Are there any practices you follow during when creating?
 

I usually always start visualizing any project, be it an animated spot or a book by making really rough thumbnails of the ideas that come into my head. Just quick doodles to get the initial images and scenes down on paper. Some pages in the book haven’t changed at all from that early initial doodle, while others have completely transformed.

After that I work out what the characters will look like, and their environment. This takes a lot of scribbling and ideating. When I have come to a place that I am happy with, I make a final storyboard of the book. Then I start to gather my materials. Different kinds of paper, leaves to be shot etc. The final page layouts are final drawings of the whole page, made from the client approved storyboards. They are made to the print page specifications, as this also works as my template of the cutouts. Using these as a guide I make cutouts for each page.  The characters, roots etc are made in parts, painted in, and I stick them onto OHP sheets to keep them organized by pages. Some parts are really small and tend to get lost. These sheets are then photographed, cleaned up and composited with all the other elements(backgrounds/leaves) on Photoshop.
 

3. What is the most challenging part about being a mixed media artist? 

I can usually see how the end result will look as I start to doodle. The challenge is to convince the client about your idea. Fortunately I had a wonderful editor who was not only incredibly patient, but also gave me her total confidence. I had a great time making the art for "Absent minded Ajja" thanks to Bijal.

4. What was your inspiration for Absent-Minded Ajja? How would you say your surroundings have influenced your work in Absent Minded Ajja?

When I read the story, I know I wanted to make them more then just a regular family. I wanted to have fun and make it a bit quirky. Ajja is dressed like my father, in a kurta pajama, but I added the beard in last minute to make him a bit more lovable. The things around the burrow are inspired by things my son is into right now. Crayons, the golf ball (which is an asteroid at home) and the broken fork etc, were things I thought Sujju would like to collect. I love ferns and mushrooms and plants and bits of all these things are in there.

 

5. How do you go about selecting texture, materials and patterns?  

All the leaves in the book are from a picnic we had in Lalbagh. I just filled up a small bag and took pictures when I got home. The clothes of the rabbits and the roots are different kinds of paper. I have a big soft spot for all kinds of paper, handmade/recycled/printed…anything. And any excuse to buy more paper works for me. Most of the time I have a clear idea of what I need to source, and sometimes the paper inspires its own use.

6. Often working in an organization gives you a supportive feedback system. While working by yourself what criteria do you use to critique your work?

Funnily enough, my three and a half year old was my constant critic for the art on Ajja. He would ask about what was happening on each page and narrate the story back to me as I worked on Photoshop. My husband is also an animator and artist, and an approving nod from him is always hard-earned, so that keeps me on track too.

7. What is the one thing you learnt while working on Absent Minded Ajja?
 

Working within the constraints of a story while setting up your own challenges was a good learning experience on the book.

8. What do you hope to accomplish with your work?
 

I love children books. I buy lots of them mainly for the art. Now I end up reading the same ones a 100 times over to my son. I really enjoy the ones where there are many things to look at in a page and every-time you revisit them they seem new. 

9. If you could imagine the “perfect art day” for yourself, what would it be like?
 

The perfect art day is an impossible dream for me right now. With a home schooled toddler in a small nuclear family, time management is my biggest enemy. I really struggle to juggle all my mom jobs and get enough time to do everything else. But a perfect art day would be to just sit undisturbed and get lost in the job with a few hours in-between of paper shopping.

 

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1.     What do you usually read? Which language do you prefer to read in?

Like most readers, my preferences change every few years. For the previous five or six years, I am mostly reading poems (and few stories/articles) written at least few hundred years back. It is fascinating! Given a choice, I would ONLY read Tamil books :) Mainly because there is so much to read there and I am quite comfortable reading Tamil. I usually read English books for relaxation or when my work demands it.

2.     Is there a favourite book / author and why is it a favourite?

Favourite book: there are many, don't want to name a single one :)

Favourite authors: J. K. Rowling in fiction, Nammazhvaar, Kambar and Bharathiar (All Tamil) in poetry, Sujatha (Tamil) in Nonfiction.

Reason: when you read just a few paragraphs from any of their work, you will immediately know that they care for their readers. I feel that is an important skill for an author.

3.     You have contributed for us immensely. How has the StoryWeaver journey been?

Amazing. I loved the concept of infinite stories in different languages in a single platform. I am enjoying it!

4.     Could you share one big thing that you take away from this experience?

I guess the biggest thing I learnt from StoryWeaver is that stories and images don't stop within a book.

I mean, when you read a printed picture book, you are focused on it, you complete it, close it and then you pick up the second book. A similar experience is possible with StoryWeaver too; one can read each story separately and enjoy it. But, the fun increases multifold when you look at the "picture repository". Suddenly, you see all those images at your disposal; I can mix two images from two different stories and create a third story. Someone (coming from a different background) may mix those images backwards and create a fourth story. This means you have an unlimited supply of stories, most of them may not even be written!

5.     How does it feel when your story gets published online?

It doesn't create the kind of excitement I get when I see a story published in print. But then, I am not a digital native and I still love print books. So don't take this feedback personally!

6.     You have translated / reviewed a handful of stories for us. Which one has been your favourite and why?

That would be "A Helping Hand" by Payal Dhar, illustrated by Vartika Sharma.

I enjoyed reading this story which talks about friendship and fitting in. It has an implicit message, even some scientific facts, but they don't disturb the story flow, which fills us with positivity.

7.     What is your key driver in taking this up?

Very simple, I like writing, and I keep looking for new ways to write and learn. As I told earlier, StoryWeaver gives me unlimited options to do so.

8.     How else do you think we can join hands in taking bigger steps for children’s literature?

I know there are many kids' books (stories and images) which are in public domain. I feel StoryWeaver can have a crowdsourced project to bring them to its platform.

Also, given the fact that many of your target audiences may only understand their regional language (even their mother tongue) and can't read, you can think of adding the audio capability to story pages. I mean, one volunteer can read the story and hundreds of kids can listen to it, even if they can't read that language.

9.     How has the overall experience with StoryWeaver been?

அருமை! ஒரு வாசகனாகவும் எழுதுகிறவன், மொழிபெயர்க்கிறவனாகவும் StoryWeaverஐ மிகவும் ரசிக்கிறேன்!

Excellent! I love using StoryWeaver as a reader and as a writer/translator!

10. What’s the secret behind your awesome professionalism?

Ah, finally an easy question :)

My teachers (in and out of school) taught me that professionalism is as important as (if not more important than) the talent. I am just trying to follow their advice. If at all I am doing well on this aspect, credits should go to them!

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