Kete questionnaire: Kimberly Andrews on her career switch from scientist to writer and illustrator of children’s books
Kimberly Andrews
Photo: Simon Hoyle
In 2019, the first story Kimberly wrote and illustrated, Puffin the Architect (Picture Puffin, 2018), won the Russell Clark Award for Illustration and was a finalist for Best Picture Book in the New Zealand Book Awards for Children and Young Adults. It also won a Storylines Notable Picture Book Award as well as the NZ Booklovers Award for Best Children’s Book. It has been published in five languages, with rights sold to Romania, Russia, China and Taiwan. More stories followed featuring favourite animal characters from Puffin the Architect's charming world: Hound the Detective, Moose the Pilot and Goose the Artist. Kimberly illustrated Scholastic Books’ recently released te reo editions of the Run, Rabbit E Oma, Rāpeti by Norah Wilson.
You grew up in the Canadian Rockies and have travelled extensively so how does that play a role in your writing and illustration work and how important is ‘place’ in picture books?
Growing up in both in Canada and New Zealand and travelling has helped shape my books. I can see direct influences particularly in my illustrations. For example, Song of the River features scenery and landscape that is inspired by the Rocky Mountains in Canada (the cover and the first few pages) and then also inspired by countryside villages in the United Kingdom. The Puffin the Architect series has a story structure that allows me to feature many different settings within each book. So many, in fact, that I was able to create a whole map of Puffin's world (featured in Moose the Pilot). It has been a joy to create my own world inspired by my travels and experiences.
How did you go from being a biologist and geologist to a writer and illustrator of children’s books?
I have always loved both art and science. My mum is an artist and my dad is a photographer, so I was exposed to creativity as a child. I focused on science at high school and university but continued to use art throughout. I think it is very important to have a scientific basis for all forms of creativity - if you understand something, you will be more able to capture and communicate it clearly. After I graduated, I went travelling and worked many different jobs as I travelled. All these experiences had their own part to play in where I am now but working in a small ski town bookshop in the Canadian Rockies gave me the push to start writing/illustrating my own stories.
When you worked at The House of Illustration in London did you meet Quentin Blake – and has he and his style of illustrating had any influence on yours (which is quite different, it should be said)?
Unfortunately, not - that would have been amazing! They have since rebranded to the Quentin Blake Centre for Illustration which is great. His illustrations have so much life and humour to them. His style appears quick, rough and deceptively simple and I know he works hard to keep it that way.
This has certainly influenced my work. My rough illustrations (the black & white sketches and plans for a spread) often feel more alive and fun than some of the finished art - it can become too clean and polished. The beauty of working digitally is that I can often use the pencil sketches or elements that feel most alive in the finished illustration.
What is the place of story and picture books in teaching subjects like biology and geology - do they have a place?
They have a very important role. Communicating difficult concepts to a young audience can be done in a clear, fun and approachable way. Puffin the Architect uses some technical vocabulary as well as showing architectural plans. This can then be a starting point for teaching around the subject of house design and different professions in the classroom. Similarly, lessons can be structured around rivers and river ecology using Song of the River.
What brought you to New Zealand and can you tell us a little more about living in a shipping container house?
My mum is a Kiwi, so we all moved here to be closer to her family when I was around eight or nine. I love living here. My husband James, our two daughters and I live in a tiny, shipping container home near the beach in Eastbourne. James and I helped to build it with a team of architects/fabricators, so it is perfectly suited to us. It is very functional and spaces can transform depending on what is needed e.g. our bed rolls out from under a lounge platform. It is a fun and playful house and we have to be very good at tidying!
What is your writing process – and what do you do when the going gets tough and you have to confront things like writer’s or illustrator’s block (is illustrator’s block a thing)? Where do you write/draw and do you have a preference or do you enjoy both?
I begin writing the first idea for a book in a notebook, usually sitting outside. Then, the planning phase is quite visual and I will often write on the iPad, scribbling over a storyboard to work out the story structure. Once I have a plan, I work up the draft manuscript on my MacBook using google docs. I will often print the draft out and work in pencil on top, editing and rewriting. I write either at my workshop which is about a five-minute drive away, or I try and sneak into the hammock in the garden while my girls are busy! Writing can be very difficult, and I do often feel ‘blocked,’ but usually the hardest part is sitting down to actually write. Once I am writing and have a block of time, it then becomes a ‘puzzle,’ trying to find the right phrase or word.
Illustrating is done on my iPad to begin with and then the final art is done on a Wacom Cintiq hooked up to my MacBook using Photoshop. I do the storyboard and roughs at home, often on the couch or at our table using Adobe Fresco on my iPad. The final art is a mix between my kitchen bench at night after the kids are asleep or - my preference - at the workshop in the day when they are at kindy/playcentre. I don’t normally get illustrators block but I do need to remember to have a break as I can get completely absorbed by it - especially if I am listening to an audiobook!
Pages from Goose the Artist
Did you expect Puffin the Architect to be such a big success – and to write a series?
No, I didn’t expect it to be so well received as it was my first book. It has been a wonderful experience. However, I did know I wanted the series. When Puffin the Architect went off to the publishers, I sat down the next day and planned each of the other characters’ own stories. That was then my new goal. It has been so fun to create this world for them all.
Why do you think Puffin, and friends, have struck such a chord with younger readers?
I think Puffin the Architect tapped into a lot of readers’ love of designing and dreaming about treehouses, and detailed and immersive cross sections. Then the rest of the series has similarly explored one subject and really obsessed over it i.e. flying and planes with Moose the Pilot or art and creativity with Goose the Artist.
It’s the school holidays so if you were a budding young writer with some downtime, how would you spend it to help you on your ‘writing journey?’ Reading, writing, going out and having life experiences?
Ooooh fun! Yes, reading lots, going to art galleries and museums, walking in nature and dreaming up stories. I used to try and imagine worlds in the trees when I was on family hikes. Or try writing a story with friends, taking turns to write and illustrate the pages. This could even turn into a zine and be submitted it to your local library.
Finally, can you recommend a New Zealand’s children book that you would always suggest others read? Or a favourite from your childhood in Canada?
My favourite children’s book is Winter Story (Brambly Hedge) by Jill Barklem. It is my main influence. The cross sections of mice living in beautiful tree houses are so detailed and rich. I still love reading it!!
