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| photo: Dominique Lafond | |
Isabelle Arsenault is the author/illustrator of Alpha and the illustrator of several other books, including Captain Rosalie by Timothée de Fombelle; Jane, the Fox, and Me by Fanny Britt, a New York Times Best Illustrated Children's Book of the Year; and Cloth Lullaby: The Woven Life of Louise Bourgeois by Amy Novesky. Arsenault is a three-time recipient of the Governor General's Literary Award. She lives in Montreal.
Just Because has very little text, composed entirely of the little girl's questions and the father's creative answers. What was it like to turn that manuscript into a 40-page, illustrated picture book?
Mac's script already included layout indications: the rhythm was planned, with the girl's questions on a first spread and the father's answers on the next. Since the text was very simple and had just a few words, it allowed me to use the space available and deploy my vision, creating visuals that would complement the text and offer possible interpretations to the story. I love being able to give my narrative input to a story and with this book, it was quite possible.
Throughout, the questions are asked in black text, each on a colored circle. The answer landscape is then illustrated in a palette that features the question's circle color. How did you come to this illustrative decision? What is its significance?
A different color was used to create a unique mood and setting for each of the girl's questions. It also helped create a visual link with the answer pages. Then, when the reader comes to the last spread, all the colors come together in a single illustration where everything is possible, like in a dream. This was a visual way of supporting the manuscript and guiding the reader through a story that had very little text.
I like to use color as a narrative tool. The blue and gray spreads take place in the little girl's bedroom--in real life--where she is asking her father questions. Those pages are dimmer, because the lights are turned off in her bedroom, right before bedtime. The answer pages feature more colors, reflecting the little girl's imagination as she listens to her father's answers. On those spreads, we see her vision of the world, based on her own references--more naïve and colorful than real life.
What did you like best about working on this particular book?
I especially liked the concept of the book because it gave me a lot of visual freedom. Working with a team that supported my ideas and approach was also uplifting. From the beginning, I felt inspired by the absurd touch to the story. It felt very refreshing compared to many other picture books nowadays.
Is there anything else you would like to tell Shelf readers?
I hope you enjoy the book!