Creating a Children’s Picture Book: Illustrating an Engaging Story

Creating "Papa Joe". Testing different ideas and techniques.

What this blog is about

I have challenged myself to write, illustrate and publish a children’s picture book about the burial of whenua, the placenta.

The story will help my daughter, who is growing up in the UK, maintain her connection to her whaanau and whakapapa. Additionally, the book will introduce an aspect of te ao Māori that has not yet been explored in children's literature.

I believe that I am well-suited to write and illustrate this story, based on my knowledge, understanding and lived experiences.

Who am I?

Kia ora. Ko Terence Hikawai taku ingoa. He uri au ki Ngaati Kahungunu ki Wairoa me Ngaati Paahauwera, o Aotearoa Nu Tiirani.

Hi, my name is Terence Hikawai. I am a descendant of the Kahungunu and Paahauwera peoples, of Aotearoa New Zealand.

I am a former soldier, youth worker, teacher and public servant. I grew up on my tuurangawaewae at Mohaka, Te Wairoa, and Te Reinga. I have held several positions that support and advocate te ao Maaori throughout my career. 

In July 2024, I relocated to the United Kingdom with my English wife and our four-year-old daughter. We made this move to connect our daughter with her British and Irish family and heritage. 

What this article is about?

The purpose of this article is to explore the importance of illustrating an engaging story. And why I chose to illustrate my own story. I could have partnered with an established illustrator. But I felt that I was best positioned to express my writing. I will cover various illustration theories, tools, and techniques.

Choosing your medium

Choosing a medium sounds easy yet there are so many options and combinations. It can overwhelm. I have some experience in sketching. Which helped me understand illustration. 

Painting 

First things first. I chose not to use painting as a medium. I realised that I am not good enough. I need months or years, of research, private lessons, and practice. I also considered expenses, materials and the studio space needed. Yet I need to cover this.

I love Watercolour in children’s literature. There's something about it that stirs the imagination. My favourite is Tangaroa’s Gift by Mere Whaanga. Watercolour techniques blended with Toi Maaori.

I am not aware of many Acrylic and Oil use in children’s literature. They do not evoke the same level of curiosity in children. Not saying it shouldn’t. I cannot recall any like Watercolour. 

Drawing

This is my strength. I have been sketching and doodling since I was little. Faced with the budget, skill level and situation. I went all in and did a deep dive into Charcoal, Pencil, and Ink.

I love working with Charcoal. The messiness and smoothness that creates emotion. Yet my skill level with Charcoal isn’t that great. 

So, I turned to my first love. The Pencil. I sketched daily. I watched several hours of YouTube Shotrz, Tik Toks, and Meta Reels. I even went old school and signed out books from the local library. I regained the skill level and techniques I once had. With persistence, I picked up new skills and techniques. 

I experimented with Pencils and Inks.  Which generated several ideas. I went down a short rabbit hole. I looked into Line Art and Perspective Drawing with Ink. I re-imagined an older idea of Mental Health Journaling using Line Art. 

Yet Charcoal, Pencil and Ink didn’t stir a child’s imagination. It needed colour!

So, I experimented with Coloured Pencils and Ink. This added the vibrancy I was missing. The skill level needed is achievable for me. I went down another short rabbit hole. While looking at old family photos for my character designs. I imagined recreating them in Coloured Pencils. Near photo quality on a large canvas. I pinned this thought for later.

Mixed Medium 

I recently discovered Watercolour Brush Pens, Acrylic Paint Markers, and Alcohol Markers. I rushed out and purchased the cheapest sets I could find. I’m so glad I did. I tested each one and found I could revisit these mediums. Using a balance between Coloured Pencil, Ink, and Alcohol Markers. Acrylic Paint Markers would be for other projects and ideas.

Traditional tools and techniques

With the advance of Digital Tools, I’ve classified anything used in the ‘Real World’ as Traditional. I have categorised Digital Tools under Modern. 

I have chosen my Mixed Medium approach. Coloured Pencils will be for closer foreground images and detailed work. Alcohol Markers will be to fill in large spaces in the foreground and background. Black Ink will draw together the foreground. The wrinkles in the trees, detailing in vehicles and buildings, and close ups of faces and hands etc.

I purchased a cheap A5 Sketchbook with 120gsm acid free paper. Which works best with Coloured Pencils. A pouch to hold the sketchbook, coloured pencils, an eraser, a pencil sharpener, and a Black Fine Liner Ink Pen. This became my ‘grab bag’. It’s small enough to take anywhere, with enough inside to sketch ideas. 

I also purchased a cheap A4 Sketchbook with 120 gsm acid free paper. I use this to practice different techniques, or to expand on my initial ideas from my A5 Sketchbook. I also pasted in sketches I did on A4 copy paper.

I started with a Minimalistic Design. With straight clear lines and very little detail. I played with different compositions of realistic and cartoonish looks. I pinned this design for now and decided to maintain a Minimalistic Design.

I needed quality tools for my final images. After an extensive research session. I managed to find budget friendly brands with good quality. 

• Strahmore’s Acid Free Heavy Weight Smooth Bristol Paper. Two sketch pads of 20 pages (22.9 x 30.5 cm).

• Brutfuner Coloured Pencils. 120 Pencil Set.

• YISAN Fineliner Black Pencils and Pens. 16 Set.

• Ohuhu Alcohol Marker Pens. 48 Colours.

Modern tools and techniques

When I started this journey I jumped all in with Digital Tools and Techniques. I pulled out my Tablet, downloaded and played with different apps and software. But like my Painting experience. I discovered that I was not good at Digital Art. I needed to invest time, money and effort to gain any real advancement.

I used Generative A.I. to help me visualise my Minimalistic Designs. Yet once I started down the more traditional path. I regained my skills and confidence to draw the different concepts myself.

I decided to create my images using Traditional Tools and Techniques. Yet I will scan and upload these images and use various Digital Tools and Techniques for touch ups. Before converting everything into my final manuscript.

Character Design

I started with Minimalistic Designs. Such as the ‘Family Portrait’ I did with my daughter. This worked well with the story. To expand on my characters, I turned to my whaanau for inspiration. Digital copies of old whaanau photos. I also used the character bio’s developed during my writing process. This helped draw out the personalities of each character. 

• Tama is serious but kind-hearted. A merger of two of my brothers with myself. 

• Katarina, who is a baby throughout most of the story, is independent yet sweet. A merger of my daughter and some nieces. 

• I imagined my parents at a younger age for Mum and Dad. Who valued whaanau and our role as ahi kaa.

• I didn’t have a strong reference for Papa Joe. He is a merger of several men from my fathers side. I also gave him characteristics of my father in his older age.

For their respective look: 

• Mum and Tama, share similar features and attributes.

• Dad and Katarina, the same. 

• Papa Joe, shares similar features with Dad, his son. 

My designing process began to influence my writing process. I wanted to set the story in the 2020’s, to be more familiar for my daughter. Yet, I decided to set the story in the 1980s. Closer to my lived experiences.

I poured over old photos, newspaper articles, and other media. There were a lot of smooth lines. Even the sharp edges were smooth. Which aligned to Minimalistic Designs.

Colour Theory

Colour plays a crucial role in children’s literature. Children ‘read’ images. Illustrators need to have a broad knowledge and a deep understanding of this. 

Here is a short brief overview, with examples. 

• Primary Colours. The building blocks. Red, Blue and Yellow. Used to create vivid images. The Very Hungry Caterpillar by Eric Carle is a great example on the use of Primary Colours. 

• Secondary Colours. Occur when the Primary Colours mix. Purple, Green and Orange. These are less vivid but still create an emotive response. Harold the Purple Crayon by Crockett Johnson is a great example on the use of Secondary Colours. 

• Tertiary Colours. The result of mixing Primary and Secondary Colours. Red - Orange and Yellow - Orange. Yellow - Green and Blue Green. Blue - Purple and Red - Purple. Brown Bear, Brown Bear, What do you see? by Bill Martin Jr. and Eric Carle is a great example on the use of Tertiary Colours.

• Complementary Colours. Are pairs of colours that contrast. Red and Green. Blue and Orange. Yellow and Purple. Where the Wild Things Are by Maurice Sendak uses Complementary Colours. To great effect.

• Analogous Colours. Are groups of colours that sit next to each other on the Colour Wheel. The Day the Crayons Quit by Drew Daywalt and Oliver Jeffers is a very good example of the use of Analogous Colours. 

I played with Monochromatic Colours. The use of different tones of one colour. Which matched my choice of Minimalistic Design. I played with different Blues, Greens, and Reds. Each colour striking a certain mood or atmosphere. I played with different combinations of colours, Reds and Yellows stood out for me. 

Pouring over family photos and old TV interviews. There were a lot of Browns, Reds and Greens. So, I opted to use both Monochromatic and Analogous Colours. These will depict a transition of Tama’s perspective. Monochromatic Colours from the start, transitioning into Analogous Colours towards the end.

Composition and Layout

In my last post ‘Creating a Children’s Storybook: Writing an Engaging Story’. I discussed that I am a visual writer. Storyboarding allowed me to see the layout of my storybook. To find the tight balance between text and images. Which helped me develop my Compositions and Layouts. 

I love the look of a large double page spread. Yet use it to create a state of awe. A panoramic view for instance. The direction of travel is great to reflect the progress of the story. Also included several images on a singular page. To reflect the more personal and detailed aspects of the story. 

I will post more about storyboarding at a later date.

Conclusion to Illustrating an Engaging Story

My biggest takeaway. If you choose to illustrate your own story ‘do what feels right for you and the story’. Yet be vigilant. The creative process will send you into loops, ups, and downs. You have to determine what works and what doesn’t.

My second takeaway. ‘Play to your strengths’. You know your skill level better than anyone. Use it. Yet be vigilant. This will have an influence on your storytelling. Sometimes for the best yet a lot of times not.

Finally. 'Buy cheap products' to test your ideas and practice your techniques. Save the more expensive purchases once you have a solid direction. I am saving the premium purchases once I have a few projects under my belt. And the revenue to match.

Next Post

‘Creating a Children’s Picture Book: Other Story Ideas’.

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