Dave Gunson is a freelance illustrator, designer, and author. Dave Gunson grew up in Liverpool, England and arrived in New Zealand in the late sixties. In 1975, he left his job at a commercial design company to work for himself. Dave has published numerous books for children and young adults, both fiction and non-fiction. His interest in nature and wildlife is clearly reflected throughout his works. He has received many awards and prizes, and The Natural World of New Zealand (1998), written by Gerard Hutching and contributed to by Gunson, won the 1998 New Zealand Post Book Awards for Children and Young Adults.
For nearly the last thirty years he has worked as a freelance illustrator and designer. Most of his work in the latter years has been for publishing companies of one kind or another. He has worked as an art director for several magazines in New Zealand and the USA; produced many postage stamp issues for New Zealand and other countries; illustrated- in part or in whole- something in the region of 80-100 books for adults and children; as well as many posters and wall charts for the New Zealand Geographic magazine and other publishers.
Much of his commercial illustration work has been in the area that might loosely be described as ‘the natural world.’
Here is Dave talking about his process:
Over the years I’ve produced a great number of large format posters concerning some aspect of the natural world, for a wide range of clients… everything from the solar system down to mangroves and to species of spiders… and quite a lot of dinosaurs!
The progress pics shown here are for one poster of a triple set that were produced for the Hauraki Gulf Maritime Park here in Auckland early in 2013.
As is often the case, I’m given a ‘shopping list’ of all the plant and animal species that need to be shown, and an idea of the text.
Then I’ll prepare a layout at the finished size. Usually I’ll draw each species separately, and then use the photocopier to enlarge or reduce, or flip left-for-right, until I can achieve a reasonable assembly of the subjects. At the same time, of course, I have to consider the placement of text, title and logos etc.
Once the layout has been approved, and appropriate amendments made, I transfer the image to the paper. The drawing is placed as an overlay with a sheet of Saral transfer paper underneath, and drawn over with a hard pencil or ballpoint pen.
For large poster work, I usually employ a paper heavy enough (200-300lb) to be simply taped down to the board, but if using a mid-weight paper I will wet-mount it – which I still actually prefer. When I start the colour work, I usually start with the background and move ‘forwards’ as I work.
In this pic, you can see that I’ve jumped forward and blocked in the birds, branch and weta (the insect), before going back to work on the foliage.
The finished illustration. I always make sure that I return to the piece after a short time, to carefully go through all areas, to look for any errors or places that need a little more work. As one works on a long illustration such as this, the artist’s ‘eye’ can unintentionally accept and overlook errors of detail… so an old trick at this point is to take the illustration and hold it up in front of a mirror… any errors will quickly make themselves apparent.
The finished poster. Once scanned, the titles and text are added by the graphic artist, using my initial
layout as a guide.
Progress pics for a postage stamp miniature sheet for New Zealand Post. Sketch and layout.
Painting, adding watercolor – almost done.
I’ve illustrated many New Zealand stamp issues, plus issues for other Pacific countries… Pitcairn Islands, Niue, Vanuatu, Tonga… and Botswana (yes, it’s in Africa, not the Pacific!).
Drawing and final art for a greetings card for Oxted Resources… I’ve done well over 100 of these cartoon kiwi cards for this company.
I have to get this question out of the way. Since you were in a band during the 1960’s in Liverpool, did you ever have any interaction with the Beatles or the Rolling Stones?
Certainly… I went to school (Liverpool Institute) with George Harrison (he was about four years ahead of me, though)… and I can count Paul McCartney as well, because though he had technically just left school, he snuck back in to be included in the school photograph! Lennon was right next door at the Liverpool College of Art.
We were called groups back then, not bands. There were many hundreds of groups around Merseyside in the 60s. We played at many of the major venues, and rubbed shoulders with the likes of The Searchers, The Undertakers (Jackie Lomax had one of the best voices in rock ever), Gerry and The Pacemakers and many others. The Beatles were already well on their way up and out.
I couldn’t find any information about you studying art. Did you go to art school or take any classes? If yes, where did you go and what did you study?
I was due to attend the Liverpool College of Art after leaving school, but circumstances prevented it. I’ve had no formal training, just learnt and picked up stuff along the way.
What made you decide to leave Liverpool and move to New Zealand?
Many factors… but NZ seemed to offer a better family life, overall.
What were you doing before you took the job working for a commercial design company?
I have worked variously as a commercial screenprinter, display artist, in exhibition design and commercial interior design. That last job involved a lot of drawing board work, which helped a great deal with the next step…
6. What triggered you into leaving that job and trying to make a living doing freelance assignments?
In 1975 (ye gods, so long ago) an opportunity arose for a freelance place within a group of designers and others. There was sufficient work to keep me going as a finished artist (paste-up, and basic design work) until I gradually built up other clients.
Had you always envisioned doing freelance artwork for a living?
As a kid I was always drawing and doodling… and when I was about 8 years old, I brought a book home from school entitled What people do all day. The usual occupations were there… train driver, fireman, doctor and so on. But there was an illustration of a man at a drawing board, and he was called a ‘Commercial Artist.’ Astonished, I asked my dad if he actually got paid for drawing stuff, and he said yes, so from that point on I wanted to be a commercial artist.
What was your first big break?
I don’t know that I ever had a big break, as such… work just gradually increased in various measures. In publishing terms, my ‘big break’ came with the publication of my first book in 1983 Collins Guide to the New Zealand Seashore, which I wrote and illustrated.
Do you ever take on aspiring illustrators, so they can learn your techniques?
No, no-one’s ever asked!
Looking back, do you see anything that helped you develop your style?
Nope, just practice… the more you do, the better you get, I suppose.
What was the first illustration work you did for children?
My first real children’s picture book was actually a small series… I presented Scholastic with an idea for a small-format book about a wee mouse called Stanley, and they asked me to do four! And then later we did a larger format Stanley book, called Stanley’s Teddy Bear.
I had worked with several publishers before writing and illustrating my own books… doing design work, book covers and so forth.
Do publishers Like Scholastic and Penguin have offices and editors in New Zealand? What is the state of publishing in New Zealand?
Yes , most of the major publishers have full offices here in New Zealand. New Zealanders have a very strong book-buying ethos, and children’s publishing is very well supported. I’ve been published variously by Penguin, Collins, Scholastic, Reed, Random House, Macmillan and several others.
Is there a strong artist community in your country?
New Zealand art in general is very strong and lively… I have a ‘fine art’ side, and I’ve been in many solo and group exhibitions over the years, and I’m currently represented by the Flagstaff Gallery in Devonport, Auckland.
It looks like you have done many non-fiction books. Do you feel there is more non-fiction illustration opportunities for illustrators than they would find doing art for fiction?
Probably art for fiction presents better opportunities. Non- fiction is a smaller field in any country, I should think. My interest in the natural world has helped me gain work in that area.
Have you done any work for children’s magazines?
Not very much at all.
Do you have an artist rep or an agent? If you do, could you tell us how the two of you connected?
A few years ago I approached several USA agents, and they were just not interested – except one. I was with that agent for a few years, but they couldn’t get me much work in recent times, so we parted company amicably.
Was DUCKY the first book that you wrote and illustrated?
No, more like one of the later books… there have been dozens that I’ve both written and illustrated… I also illustrate other authors’ books, and have been a ‘contributor’ in small or large measure in many more, including a large number of educational ‘readers’ too. All up, I suppose I’ve been involved in well over 200 books.
Have you ever illustrated a book for self-published author?
A couple of times. Nothing particularly exciting, though.
Do you have any tips on how to find illustration work?
Common sense says that if you’re starting out, you have to contact potential clients… create flyers/cards with a few good examples of work, with brief contact details…. And send them out regularly to art directors, and the like.
What is your favorite medium to use?
With any commercial illustration, it has to be water-based for me, because of speed… watercolours, gouache, acrylics and so on. Sometimes I’ll use other media.. such as pencils or inks.
Not counting your paint and brushes, what is the one thing in your studio that you could not live without?
Well, the drawing board is pretty important, too! It’s a big 40-year-old Art Slave unit… fully adjustable, and spinnable, too! The stereo is another important factor…. Rock’n’ roll, man!
Do you try to spend a specific amount of time working on your craft?
Just whenever there’s work to be done! Otherwise I’ll be working on a large abstract painting in the studio… or even calling publishers to see if there’s anything they want doing!
What is the award that you are the most proud of winning?
I’ve been a finalist in several national book awards, but I’ve never won anything worthwhile…. Except for my wife, Barbara!
Do you take pictures or do any research before you start a project?
It’s usually not required for a children’s picture book, unless there’s reference to something specific. With natural history subjects, I research as much as I can – through Google, for example, which is great for gathering photographic reference to plant and animal species. I have contacts with museums and institutions, so sometimes I’m able to consult experts or to borrow preserved specimens, if they’re small enough… often photography is the only way to go; my studio is a big one, but it’s still a difficult job to cram a humpback whale in there.
Do you think the Internet has opened doors for you?
Yes, somewhat… having a website with examples of my work is the online equivalent of the portfollio that artists used to tote around publishers and agencies, so it’s certainly a convenience in that respect. While it’s helped to make me better known, I’m not sure that it’s really resulted in any extra work, though.
Do you use Photoshop with your illustrations?
No, nyet, nein, nope and never.
Have you ever tried a graphic Drawing Tablet?
No, and I’m not particularly interested. I know many of my peers and betters prefer the use of tablet and computer to create or enhance… but I enjoy the feel of pencil, brush or whatever, on good paper… tactile!
Has your style changed over the years? Have your materials changed?
I don’t know that I have any real style, as most others do… wildlife illustration is fairly straightforward and realistic, for the most part. I do think that I’ve improved technically over the years, though.
As for children’s picture books, I do believe that the more I’ve done, my range of illustration styles has increased.
Materials have certainly changed. Much of my early illustration work was executed on good quality illustration board. But as some of the better board and paper products became unavailable, I had to switch around. Brands of paint have come and gone, too… the range of manufacturers has increased, as has the range of pigments. Greater choice means greater experimentation anyway, so that’s fine.
Do you have any career dreams that you want to fulfill?
Not really… Just getting enough work in to keep me going would be nice!
What are you working on now?
Right at the moment I’m working on a couple of book proposals – one non-fiction wildlife and one children’s picture book. I’m also looking at preparatory roughs for some large wildlife posters for a client.
Do you have any material type tips you can share with us? Example: Paint or paper that you love – the best place to buy – a new product that you’ve tried – A how to tip, etc.
The old axiom that you should buy the best that you can comfortably afford, is still true. Arches and Fabriano papers, for example, Winsor and Newton watercolours… yes, I know that there are more expensive brands, but W&N are top-level anyway. And it’s the same with paper… while I use the top brands, I often buy 10-sheet blocks of middle-heavy (150lb) Bockingford paper… when wet-mounted, it’s perfectly fine for general book illustration. I occasionally buy quite expensive brushes, but my everyday brushes are brands like Raphael, Kolinsky and the always dependable Hayden 100 Series Sable.
When trying out new paints or equipment, I avoid anything with the word ‘student’ on it… it’s usually rubbish quality.
Any words of wisdom on how to become a successful writer or illustrator?
Just keep going, is the sage advice…. Try, try again. As I’ve said, the more you do, the better you get. Practice and perseverance!
I still get plenty of rejections for book ideas that I present to publishers… but some rejects then get re-jigged in some way, and moved on to another publisher. Sometimes successful, sometimes not…. But eventually most will find a home somewhere.
It was such fun discovering you and your art. Love that you are from New Zealand. It seems like such an interesting country. I hope someday to visit. Thanks so much for sharing you process with us and I wish you much more success.
Visitors: If you want to visit Dave’s website, here is the link: http://www.davegunson.com/ and the link to his paintings at the Flagstaff Gallery.
I am sure Dave would love you to leave a comment about his art and this interview, so if you have a minute, please drop us a line. Thanks!
Talk tomorrow,
Kathy
Filed under: authors and illustrators, Illustrator's Saturday, inspiration, Interview, Process Tagged: Dave Gunson, Dave Gunson poster, Kiwi birds, New Zealand Post Book Awards for Children and Young Adults, New Zealand postage stamp art, Scholastic