path. It’s probably more than a little inspired by the hills and distant sea glimpses of the South Downs, where I live.

I found that this new line worked well against a white background. Here’s an early sketch of Dylan feeling very important as a teacher. (pic 2)

But I found the line was getting lost when there was colour behind it. With lots of trial and error and much encouragement and support from my rather brilliant art director/midwife, Zoë Tucker, a new style was born. (pic 3)

Once I have a rough drawing of how a page is going to work I loosely trace it onto watercolour paper with Transtrace. This gives me an idea of where everything is going to go. I then build up the coloured pencil and oil pastel line as spontaneously as possible and slop on the watercolours, acrylic inks and watercolour inks - whatever will get me just the right colour. I paint the characters separate from the background. I then get all the elements of the


artwork scanned and returned to me. I draw the white cut-out line around each character on a separate layer then put it all together.

I also wanted a contrast in style between the indoor and outdoor spaces. Going outside is a big and important transition for a small child. (pic 4)

So the inside spaces are defined by a graphic line and flat colours whereas for the outside spaces I let rip with more watercolour, pencil and oil pastel backgrounds.

Dylan the Teacher, the third in the series, is out in August, then Dylan the Baker will publish next year. I’m very excited that Brown Bag, the people who made Octonauts are currently producing a series of Dylan animations.

Dylan the Teacher is published by Alison Green Books, 978-1-4071-7174-6, £6.99 pbk.

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