Anjora Noronha was one of the Illustrator Gurus for our #6FrameStoryChallenge in 2015, and we're delighted that she is illustrating a book for Pratham Books this year. Written by Sheila Dhir, this story is about the moving friendship between a goby fish and a pistol shrimp who live deep in the ocean. 

Read a short interview with Anjora, in which she gives us a peek into into her illustration process. 

What mediums do you most enjoy working with? How do you choose a particular medium for a story?

For personal projects, my drawing kit contains a sketchbook, watercolour postcards, a tiny bottle of Indian ink, a tiny tube of watercolour in ivory black, a mechanical pencil, a 'pencil' eraser, an aquapen, a MUJI gel pen (LOVE) and lots of tissues collected from all over the place.

Other than that, I don't have a particular style or medium that I work with, so the start of a new project is always a mix of excitement and nervousness at discovering which medium is going to be the medium of choice. I somehow never know, and so each time I start, I have to go through sheets and sheets of paper and material, looking for what 'feels right'. 'What feels right' includes: how much texture I can achieve; if the essence of the medium suits the essence of the story (this is naturally highly subjective); and also very simply - if it excites me.

What kind of stories do you enjoy working on the most?

For children's books I prefer working on books that have a strong environmental theme. For adults I prefer working on stories about people and cultures. My favourite thing to draw is portraits of people I meet when I travel.

Which part of your work do you enjoy the most, and which part do you enjoy the least?

The most enjoyable part is when all the frames and page sketches have been approved and finalized, and it's time to colour them in. That is the most charming part of any project for me: I put on music, or a podcast, and spend hours glued to my desk in creative solitude. Most details have been decided by this stage, at this point it is a matter of turning off the thinking side of my brain and allowing things to happen on their own. I sleep at night excited about the next day of drawing. Even though I find it more challenging, I also love the character development stage because either I act out expressions and postures, or I ask someone to act them out for me. What I enjoy the least is scanning and cleaning the final artworks and preparing them for print. Following that, there's always the big existential angst about which font to chose, and at what size, with very few helpful cues from the universe.

This year, you’re illustrating a book for us on the symbiotic relationship between a goby fish and a pistol shrimp. We loved all the character sketches you made for this. What kind of preparation goes into illustrating a book for children?

Ideally, the initial stage would involve doing studies of the characters from life, but since I didn't have access to the two main characters in the story I'm currently working on, I watched as many YouTube videos and read as many articles as I could. Then I filled many pages with drawing after drawing of the characters, repeating them over and over again. My aim was to get to know these two so that I could intuitively draw them in any situation. This was followed by a style and colour test, which is the phase where I try to discover which medium I will be working in. For this book, it is colour pencil, which is a medium I have never worked in before. I tweaked my colour palette multiple times and drew one page over and over again, changing individual details with every attempt to discover what textures and effects I could achieve with them. I have stopped using sites like Pinterest to find inspiration.

The third phase has been to thumbnail the entire book, and incorporate feedback. The practical side of illustrating for children cannot be ignored, and I like collaborating with editors as they are involved in the entire process but are not stubborn and attached to everything (as illustrators tend to get). This is where we have reached so far. Some pages need to be tweaked, some are good to spend afternoons of coffee and music with. Each thumbnail will be fully detailed and shared with the editors before being coloured in. The last stage is scanning, cleaning and layout. After that I hand over the files and wait for the printed books to come by mail :)

Who are some of the illustrators whose work you follow closely?

For children's books: Carson Ellis and Júlia Sardå Portabella. http://www.carsonellis.comhttp://www.carsonellis.com has a Q&A section on her website, and one of the things she speaks about is her limited gouache colour palette, and how - when she added a colour to it - it was quite ground-breaking for her. Júlia Sardå Portabella seems to work mostly digitally, so I turn to her work for clues on how to work digitally - a new medium for me. Recently I discovered the work of Joann Sfar, and have bought every book of his that I can get my hands on. The colourful and surprising artwork of Brecht Evens. One of my favourite young, contemporary artists is this guy called Ward Zwart, who puts up a lot of his work online, but is very mysterious otherwise. (He did reply directly to a message I left him on Instagram though :) Stephanie K. Birdsong, mostly known as shoulda-woulda-coulda: for her daily and very quirky warm up paintings in her Planner. Oh, to be so productive on a daily basis! And of course, the work of my peers in India, some of whom I know personally, and whose creative journeys I have been following for a while now.   

How do you deal with creative blocks?

In three ways. The first is that I break down what I have to do into micro steps, and then push myself to complete one micro-task after the other, all the while telling myself that I can change everything at a later stage. The point is just to gain momentum, which always leads to enthusiasm. Most of the time, producing a lot of work that doesn't work leads to something that does work, and when that moment comes, the Battle against the Block is won. The more involved I get with an artwork, the more enthusiastic I am to delve into the details and spend time on it. The second is that I try to meet someone who is currently in a good creative place / moment. There is nothing that kindles my excitement about the work that we illustrators and designers do, than having a long, dense conversation about the nitty-gritties of the creative process. There hasn't been a time when it hasn't left me fired up to sit down at my own table and MAKE. The third is to not allow myself a break after completing a big project, so that I don't lose the rhythm and flow, but I'm still working on that, I almost always end up taking a short break :P

Anjora Noronha grew up in Vienna, moved back home to Goa, studied at the Srishti School of Art and Design in Bangalore, worked in Delhi, and then studied more at the University of Barcelona. She currently lives between the Indian tropics and a windy little town somewhere in northern Europe, where she works as an illustrator on a variety of projects ranging from comics, children’s books, and  historical books of places long forgotten.

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This International Mother Language Day, to celebrate the beauty of multilingualism and linguistic diversity, our intern Rahel put together a  list of stories written in the languages of the world. These stories are every bit as beautiful as the languages they’re written in and are accompanied by absolutely gorgeous illustrations.  

Gul in Space by Richa Jha and Lavanya Karthik

In this poem, join Gul on her birthday as she goes to outer space. In a dream, she floats in the space station, gets jalebi and samosa in her hair, and is wished by the moon and the stars.

एकशे सदतिसावा पाय (The Hundred and Thirty-Seventh Leg) by Madhuri Purandare

When the millipede breaks one of her hundreds of legs, neither the sparrow, nor the butterfly, nor any of the other animals want to help her. The only animal willing to help is the spider. But for the spider to wrap her leg in his silk thread, she needs to teach the spider how to count beyond eight.

 ಮೊಲ ಮತ್ತು ಆಮೆ   (The Hare and the Tortoise. Again!) by Venkatramana Gowda and Padmanabh

Remember the famous race between the hare and the tortoise? The story that coined the phrase “slow and steady wins the race”? Now put a twist on that. A twist that requires the animals to work together in order to deliver a message from their king to the neighbouring king, in a day. In this story, follow the hare and the tortoise in their race against time instead of each other.

ଏଣ୍ଟେଜ ସେଂକଏ ଆଉ କୁଲାବ୍‌ ସୁମୁସିଞ୍ଜ୍‍ /କୁକୁଡ଼ା ଏବଂ ବେଲ ଗଛ (The Clever Chicken/चतुर चूज़ा) by Juanga Writer’s Group and Sugrib Kumar Juanga

In this beautifully illustrated, bilingual book, a little chicken is being relentlessly hunted by a hungry jackal. Can the chicken successfully outwit the jackal in his endeavour to eat it and escape his jaws once and for all?

ముక్కు విరిగిన రామచిలుక (The Parrot with the Broken Beak) by Shahid Anwar and Shailja Jain Chougule, translated by Nagaraju Nichenametla

Watch Kansi, a budding artist, as she takes her father’s favourite pen and draws a blue parrot on the wall, breaking the nib of the pen in the process. After she faces an angry father, she goes to sleep to meet an angry, blue parrot with a broken beak in her dream who teaches her wrong from right. This colourful story is perfect for children.

 بادشاہی پارک (Badshahi Park) by Shahid Anwar and Tapas Guha

When Ashhar laughs at Zulfi for being afraid of the king’s grave, Zulfi dares him to go in there, by the light of the full moon, and hammer a nail into the head of the forbidden grave.

 துப்பறியும் துரை (Kaushik, The Kind Detective) by N. Chokkan and Megha Vishwanath

Armed with a brand new torch and magnifying glass, Kaushik goes exploring the forest like a true detective. When he examines a group of mushrooms, he discovers Lalitha, a tiny girl, sitting under the mushrooms.

 ਬਾਣੀ (Bani) by Herminder Ohri and Taposhi Ghoshal, translated by Narinder Singh

Join Bani and her new friends as they float through mushroom town, eating laddoos and chips from mushrooms and drinking from streams of lemonade, orange, and mango juice. A story clearly filled with imagination and perfect for children.

 

 सबरंग (Colourful) by Kamla Bakaya and Audrey Agnier

A book of poetry coupled with gorgeous illustrations, सबरंग is a collection of four poems sure to make you fall in love.

We hope you enjoy these stories as much as we do!

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Swati Pandit is pursuing her BA in NMKRV College For Women. She loves learning languages and is fluent in 16 of them! She is passionate about music and is learning the violin and flute and can also play the keyboard, guitar, ukulele. She also sings, writes and composes poetry!  Recently her book of poetry Trilingual Poetry got released by professor Dr.S.Ranganath.
 

Q: What type of person do you think makes the best translator for children’s stories?

According to me a person who can think from the perspective of a child....A person who is open to various changes.... And a person who can imagine widely and wildly is the best translator for children's stories.

Q: Do you have any advice for anyone interested in becoming a translator?

My advice is that, please come and discover this amazing world of translating. This work requires a lot of patience and passion. So, people interested out there set your brains on fire and you'll fall in love with translating.

Q:  What is your personal relationship to language and/or translation?

Each language has its own beauty. And I see each language as a beautiful living entity. This is a musical instrument which brings people from various places together.

Q:  When you’ve been given a story to translate, what’s your process, and how long does it generally take?

I have a habit of reading the given story twice... First I give a general reading then I thoroughly read it again...I understand the gist and go on with the translation... It takes 4 to 5 days for the final version.

Q:  What do stories in translation bring to young readers?

If a story is translated in their very own or their dear language they will feel delighted to read it. They will read the story with ease and will get some interest towards reading more.

Q: You’ve translated stories for us. Which has been your favorite to work on?

My most favorite stories are Chutti and Cyborg Taata.
 

Q: What is the hardest thing about translating from English into Kannada? How do you navigate words or phrases that are tricky to translate??

Sometimes finding appropriate words at the right places becomes tricky and then choosing the nearer word becomes the solution. Sometimes this paves the way for inserting a new and interesting phrase. Sometimes change in the voice is needed. It's challenging but it's fun at the same time.

Q: How do you feel when your story reaches the child?

I feel satisfied and really happy that a child can understand and interpret things!

Q:  Translating stories must have required research when it came to STEM related terms and concepts.. How did you explore new objects and concepts?

When it comes to STEM stories I have referred to some books and understood what it is and then I proceeded. While translating Cyborg Dadu to Kannada I got to know various things about how cyborg can change mankind etc. It has really expanded my knowledge.

Q:  As a Multilingual Translator, Young Poet how do you connect yourself with Children's Literature, what do you feel is the challenge in this regard?

Children's literature is known for its widespread imagination and energising themes and being a poet requires childlike heart. More than challenge I feel that it is a trigger to the monotonous mind of mine.
 

Q:  As a student and voracious reader, Stories in which form are best received by kids? Poetry, Picture books, Read aloud etc?

According to me, poetry and picture books are the best ones to give into a child's hand because the rhythm of the  poetry tends to get registered in their minds. And picture books makes their thinking more colorful and picture is grasped by them very quickly. I personally am a great fan of picture and poetry books.

 

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