In just a couple more months, Australia commemorates the Centenary of the ANZAC landing at Gallipoli. Dozens of new titles are already marching forward to mark the occasion with heart-rending renditions of tales about ‘bloodshed, death, ruin, and heartbreak.’ This is how singer/songwriter, Eric Bogle views the futility of war.
It’s a timely message that fortunately more and more schoolchildren are gaining a deeper respect and understanding for through historic picture books like this one, And The Band Played Waltzing Matilda.
Bogle’s iconic lyrics make your chest heave with anguish at the awful waste of life, yet rippling beneath the waves of depression, is an undercurrent of pride and admiration, perhaps borne from a determination to never ever let this happen again; and yet we do.
One wonders how so beautiful and wrenching a tale could be visually resurrected to deliver the kind of visceral impact young people will appreciate and gain from. Easy, you get a master with the surest of touches and the purest of hearts to illustrate it. You allow his colours to bleed across images that tumble across the pages, injured and torn, dirty and forlorn. You watch until your skin prickles with emotion and your eyes burn with tears.
Today, I am honoured to have that master at our draft table. Please welcome, Bruce Whatley. Here’s what he had to say.
Who is Bruce Whatley? Tell us one thing about yourself we are not likely to find on a web site.
If it wasn’t for my Mum I would not have the use of my right arm. Injured at birth, the damage to my right shoulder was such that she was told it would whither and be useless. Fortunately she refused to believe it and after nearly three years of massaging I held a spoon in my right hand for the first time. Since then I think I’ve held a brush as that’s the hand I’ve made my living with.
You’ve penned and illustrated many children’s stories. What aspect of children’s book creation do you prefer? Which do you regard yourself more proficient at and why?
When I write and illustrate it isn’t as if I write first then think ‘How am I going to illustrate this?’ It comes together like a movie in my head and I don’t really separate the text from the images. That’s why the text and images are so reliant on each other in my books, they compliment and bounce off one another to tell a more complex story.
I guess I think of myself as a better illustrator than writer because that is my background but I am enjoying writing more and more and as I get more confident am working on longer manuscripts. Doing both means if I hit the equivalent of writer’s block when illustrating I can put down the brushes and write for a while.
Can you name one title you feel exemplifies your work the best? Is it the title you are most proud of, or is that yet to come?
The book I’m working on now I am most proud of. This is the book I would give up all others to have published. It is a story I’ve written and though the illustrations use the simplest of mediums – the medium I am most comfortable with – lead pencil – they comprise extensive use of 3d programs to create a unique world and environment. This book will have no compromises. This will be the best I can do. ‘Ruben’ approx. 120 page picture book.
Recent picture book collaborations with Jackie French have focussed on dramatic occurrences such as natural disasters. And the Band Played Waltzing Matilda, is no less powerful. What attracted you to take on and to fulfil a project of this emotional magnitude?
Because they were of such emotional magnitude. Success with wombats and ugly dogs had the potential to pigeon-hole me as a particular type of storyteller. I am always looking at ways of growing as an illustrator, looking for new ways of expressing the narratives. These books also enabled me to explore what I had discovered using my left hand. That I produce far more expressive and emotional images drawing with my other hand. Matilda is by far the most emotional book I have illustrated.
Did you ever feel emotionally challenged at any point of this book’s production (because of its heartrending subject matter)? If so why?
I based my illustrations on original photographs taken in Gallipoli at the time. Even though I needed to adapt what I was looking at I wanted the images to be based on reality as much as possible. When using photos this way especially when drawing details it is a bit like those ‘spot the difference’ puzzles you get in newspapers and magazines – you flick your eyes from one to the other to spot the differences. Similarly when you are copying an image you flick from the photograph to your drawing to make sure you are getting the right shape and size etc. It’s not so much about what you are drawing you are concentrating on lines, shapes and position.
I was doing this on one of the illustrations. It wasn’t until I completed the piece I realised what I thought was a rock was the hand of a dead soldier. I lost it at that point.
This was symbolic to me as it highlighted that we look without seeing. We watch the old veterans march and wear their medals. Old men. But we don’t see the 19 year old that watched their mates get their legs blown off. We do forget. And we still send our children to war.
You are enviably competent in a number of illustrative mediums and styles. Describe those you used and incorporated into Matilda.
As I said I’m always looking for new ways to illustrate. Matilda was done with my left hand – which has a mind of its own!!! I can’t write with my left hand and really I have very little dexterity when I use it – but depending on your definition I draw better with my left than with my right. I used a waterproof felt tip pen for the line work then an acrylic wash over the top. Using acrylics instead of watercolours meant I could work in layers without dragging the colour from underneath.
The predominant colour scheme throughout this book is one of solemn sepia hues stained with splashes of red. What mood are you trying to convey with this palette choice?
I guess it was influenced by how we normally see this period but also I wanted to reflect the mud and despair. Bright colours suggest hope and laughter – I don’t think there was much of that.
Your use of perspective at the start and end of this tale is both visually arresting and choking with emotional impact. Was this your intention? How do close up views influence the feel of a picture book story when compared to flowing landscape illustrations?
Faces are amazing things and I often have my characters looking directly out at the reader. They say the eyes are the windows to the soul. I think that last close up opens that window a bit. (Interestingly I could not have achieved that intensity with my right hand.) Being so close also means it’s in your face literally. After watching from a distance suddenly you are confronted with the reality of the consequences.
What’s on the draft table for Bruce Whatley?
Ruben is my main focus but there are more books coming out soon I’ve written with my wife Rosie and illustrated with my son Ben. And there are always wombats waiting in the wings.
Just for fun question – You illustrate with both hands. Have you or would you ever consider or attempt to illustrate with your feet?
I haven’t but would if need be. The question would be ‘Which?’ Left or right???
I could wax lyrical all day about And the Band Played Waltzing Matilda, but urge you to experience this amazing story for yourselves. Read it. Sing it. Share it. Do not forget.
Allen & Unwin January 2015