This week we talk to Dutch illustrator Jeska Verstegen and get a peek behind the scenes of a new release, The Tree That Was a World written by Yorick Goldewijk, translated by Laura Watkinson (Eerdmans Books for Young Readers).

By Johanna McCalmont

WKL: Hi Jeska – Welcome to World Kid Lit. Can you share with us how you came to be an illustrator? Was it something you dreamed of for a long time?

JV: It was 1990 when I started illustrating books and magazines. Somehow this work fitted me like a glove. Full of imagination, I prefer working in solitude and I am by nature very disciplined. All qualities you need to have when you want to illustrate (children’s) books. I haven’t counted the number of books I’ve illustrated, but it must be well over 200. I loved working on The Tree That Was a World and Bear Is Never Alone. I love illustrating poetry, too. 

WKL: Are you drawn to any themes in particular? What do you get most excited about when working on an illustration or book?

JV: I’m not particularly drawn to any themes. I want to be challenged, though. I like the feeling of growing, taking things to the next level, reaching for that higher shelf.

I see a story as a stage. You have to give the story what it needs to shine. Therefore, an image sometimes has to be more stylized or maybe mysterious, or a bit strange like in The Tree That Was a World. My idea for this particular book was that I would create illustrations almost like posters. Each of them told their own story in a story.

WKL: How did this collaboration with Yorick Goldewijk come about? And did you need to adapt any of the illustrations for the translation into English?

JV: That’s a lovely story! An editor thought Yorick and I would work well together. We met and began thinking of all the possibilities for stories immediately. I understand his humor. He too wants his stories to be more than ‘just a story’—there is always a hidden layer in his work. I like that a lot. So the editor was really wonderful to be able to see we would have a creative connection. The illustrations weren’t adapted in any way for the translation.

WKL: Can you tell us a bit about your process in general and how you created the illustrations for this book in particular? What materials do you like using most?

JV: Each process of creating illustrations for a story is different. I like all materials: watercolor, acrylic, pencil, pen.

I created this book mainly on the computer, but in a very traditional way. Every pencil stripe and little dot (and there are a lot!) is drawn manually. For instance, I made every dot on the fish in the sky myself, not with a computer-dotting option. I drew everything like I was working on paper, using the same techniques. It’s so great. The ink never stops flowing. I love that. This way, I’m able to forget time completely and the pen doesn’t start yelling at me that the ink has run out.

While reading a story, ideas pop into my head. The owl drawing, for instance. The details in his face had to be shown close up. If the owl was drawn too small, you wouldn’t notice important details… (I won’t give any spoilers here!)

I’m also always thinking ahead to the moment readers turn a page. What will they see? Can I startle them a bit? Or can I give them a warm feeling inside, or maybe put a smile on their face?

WKL: Do you have a favorite spread in The Tree That Was a World?

JV: Yes, my favorite spread is the one with the tree at night and all the animals in it. It is mysterious. I had to find a practical way to depict all the animals, great and small, to fit on the small page. It is like a puzzle. I love the moment I realized I managed it…

WKL: You’re also an author and your middle grade book I’ll Keep You Close, translated by Bill Nagelkerk(Levine Querido, 2021), is a very personal story. Would you like to pursue more writing yourself?

JV: How wonderful you are referring to this book. Thank you. It was a very delicate story to write. I am currently working on a new writing project. Unfortunately, life got in the way: I’ve had a few injuries because I had a bicycle accident. I am still working on the story, though. Slowly and steadily. And I’ve sold my bicycle… 🙂

WKL: Which illustrators do you admire? Do you have favorite books you read as a child or any recommendations for our readers?

JV: I love illustrators from the past like Wiliam Heath Robinson, Arthur Rackham, and Saul Steinberg.

I really loved the book Een brief voor de koning, by Tonke Dragt. It has been translated into English by Laura Watkinson: The Letter For The King (Pushkin Press).

And I’m a huge fan of Winnie the Pooh… Those illustrations of Shepard’s are just marvelous.

WKL: And finally, are you working on anything right now that you can tell us about?

JV: Yes! I can share what I’m illustrating right now: Alice in Wonderland! 

It’s a dream come true. I love the magnificent fantasy world. It is a Dutch adaptation, though. I’m not quite sure whether it will reach the American market. One can only dream.