In response to an almost-over contest, I developed my story, style and technique over nine days, during which I worked full time and wrote the ending of my master’s thesis. Everything about the book was therefore (by default) very, very unedited. Minerva’s line came along without effort, as did the palette. But the manner in which I was to retain the line without covering it over with paint or losing its fluidity took a bit of time. Luckily, I was working as an ad designer for a magazine. No one does paste-up anymore, but back then we did, creating multiple layers for the printer to shoot and compile. And that process inspired me to layer my illustrations.
Making Minerva Louise or Rooster Sam come to life is a matter of knowing my subject. Chickens are fun, curious creatures without a lot going on upstairs, if you know what I mean. So it was not much of a stretch for me to exaggerate their small heads and floppy combs, and add a little beanbag poof to their already round bodies. They tilt their heads and poke them into everything, which in itself is just so entertaining. I often try out facial expressions I want to draw by looking in the mirror. That can tune me in to finding the best little curve for an eyebrow or grin.
