Italian illustrator Beatrice Costamagna recently worked on the Merlin publication Imedlina u l-Imbarazz, a book for children aged between three and six. She gives Escape an insight into her art and her work.

What inspired you to become an illustrator?

For a while, after I graduated from the European Institute of Design in Torino, I worked in graphic design. But, during my studies, I had met several illustrators who had inspired me to create my own illustration style, particularly for children’s books. And that is when I took the plunge and decided to become a freelance illustrator.

It was not easy – particularly in the begining, when I was still trying to make a name for myself – but I had the support of my family and my boyfriend, so I have never looked back. What I like about my job is that, whatever leaves an impact on me as I go about my life, be it books, websites, comics, movies and travels, somehow always ends up influencing and inspiring my work.

How would you describe your style?

As very clean and bright, especially when I’m illustrating for very young children. I love drawings which manage to capture emotions and set a warm scene, with just a few lines. I tend to prefer a minimalist approach.

You have to be flexible and happy to work with different people

What are your drawing tools?

I start with a sketch in pencil. I think the relationship between a pencil and a blank white paper is very important. Of course, the more the character is described in the story, the easier it is for me to conjure it to life. When I’m happy with the hand-drawn sketch, I colour, polish and perfect it by means of computer programmes such as Photoshop and Illustrator. I find the digital tools very useful, as they give me the possibilities of experimenting with various techniques.

As technology develops, do you think there will be a time when computers will take over the artist’s job?

Computers are only tools which allow the illustrator to work and to experiment in a more efficient manner. They are very much like a palette of colours and a box of pencils. Without the technique, the knowledge, the ideas and the personal experience, computer programmes would be futile instruments. At the end of the day, it is the personal interpretation of the artist which counts: even when the work is digital, you can always see the hand of the illustrator in the drawings.

Sure, maybe in future we’ll be able to create images by inputting algorythims and calculations in a machine, but the visual effect will be completely different from that generated by a human being with feelings.

One of your initial book projects was with Merlin Publishers, who discovered you at the Bologna book fair. What was it like to work for a project outside Italy?

When you are at a book fair, you have to overcome your inhibitions and show your portfolio to publishing houses. This is not easy, because you always feel your work is not perfect and it can be very nerve-wrecking awaiting the decision of the art directors at the publishing house. You have to be flexible and happy to work with different people, in different languages, always ready to explore different styles and tight deadlines.

However, you need to be strong and patient, for all efforts are repayed. To this day every single publication is of immense satisfaction to me. Working with Merlin Publishers was a very positive experience. Editor Chris Gruppetta approached me during the book fair of 2012 and subsequently I worked with their designer Pierre Portelli, on a children’s book written by Sandra Hili Vassallo, called Imeldina. This year I worked on its sequel, Imeldina u l-Imbarazz. Merlin Publishers were among the first foreign publishing houses that I worked with and I have to say they brought me luck.

My favourite are bedtime stories

Since then, I have worked on various projects for other different publishing houses in Italy and abroad, among them Pearson Italia and UK, De Agostini, Edizioni EL, Lisciani Giochi, La Spiga Edizioni, AZ Books, Piccolia, Auzou, National Geographic Learning, Cambridge University Press and Parragon.

How did you bring Imeldina to life?

I took to Imeldina immediately. In the story she is very sweet-natured: a bright little girl, clever but a bit clumsy, so that’s the perfect recipe for fun illustrations. The minute I read her story, I instinctively imagined her as little girl with red hair pulled up in plaits and with these huge expressive eyes... she came to life immediately.

What project would you most like to illustrate?

My favourite are bedtime stories: they are sweet and dreamy. I am in my element because I can let my imagination run wild, and that’s when good ideas start flowing. I also have a soft spot for the slightly longer stories like Imeldina, in which the illustrations depict the storyline, because with each drawing you feel like you are growing with the character. I have never had the occasion so far, but I would like to illustrate a children’s classic book. I’d love to interpret a character which is already present in the collective immagination and see what the re-action the illustrations stir in young readers.

Of little children and clutter

Parents will be familiar with the scene: a array of children’s toys strewn about the whole house, including the least likely places such as the kitchen cupboard. Yes, indeed, little children and clutter go hand in hand and Imeldina u l-Imbarazz is a book about just that.

When Imeldina’s father opens the fridge for milk, he finds her jacket tucked under a cake, next to the jam jar; when her mother opens her wardrobe, a cacophony of stationery falls on her head; when Imeldina herself opens the school bag, instead of books, she pulls out pink panties and her bed socks.

Her parents are evidenlty very laid-back (compared to you or I), but even their patience snaps one day and they order her to clear up “now!”.

Because Imeldina is your avarage normal girl, she strongly resists parental authority. She then gets this grand idea that she can clean up the mess by sitting down, closing her eyes and wishing things away. She tries and tries, and forces her eyes shut even more, but the magic does not work and not a single thing budges in place. Eventually, even becuase her clever parents never do the work for her, she gets round to tidying the house off her mess and is rather delighted at the result.

Written by Sandra Hili Vassallo and published by Merlin Publishers, Imeldina u l-Imbarazz is aimed at children aged between three and six. It is a follow up to Imeldina, published three years ago, in which the little girl enjoyed splashing around in her red boots.

The book comes to life with the beautiful illustrations by Beatrice Costamagna.

“The first Imeldina was a surprise hit for us, especially when considering that this was the teamwork of a debut author and an unknown (in Malta) illustrator,” said Merlin Publishers director Chris Gruppetta. “The liveliness of the character and the sprightly illustrations evidently struck a chord with Maltese children,” he said.

Imeldina u l-Imbarazz is available from bookshops or online.

www.merlinpublishers.com