Conversation with Qin Leng

Qin Leng

Can you describe your process of bringing characters to life visually?

For as long as I can remember, I have loved people watching. How does a person walk? How do they hold themselves when they do absolutely nothing, sometimes revealing a glimpse of what goes on in their mind. How does a child laugh or cry? I've always loved to collect all these images in my mind to later revive them within the characters in my books. I try to replicate the subtleties of body language and expressions, so that what comes out on paper feels real and allows my readers to connect with these few lines and splashes of color, reminding them of someone they know or maybe even themselves.

How closely do you work with authors in creating characters? How do you balance authors’ visions with your own visions?

I usually am aware of the author's vision via notes added to the manuscript or sometimes via the editor, who will share with the author stages of my work (the rough sketches are sent to the author for input, so are the line art, and finally the colored finals). It is important to respect the authors' words but I do believe that there is a common understanding that this is a collaborative work and that ideas can evolve and sprout from both sides.

Can you describe the process of illustrating wordless books? How is it similar and different to illustrating books with words?

Illustrating wordless picture book does offer one major challenge: There is no help of words to convey the story, everything relies on the images. I found myself thinking of the composition on the page much differently, thinking about panels, passage of time, more cinematic compositions...Working on "Over the Shop" was a real challenge but it also allowed me to illustrate a picture book in a very refreshing way, the pages unfolding much like a graphic novel at times (something I have always wanted to explore).

How did you know you wanted to be an artist? How did you know you wanted to illustrate children’s books?

My father is an artist and I grew up spending a lot of time in his studio, watching him paint. I always enjoyed drawing from a very young age (first drawing with my twin sister on the walls of our home when I was 2- something I am sure many children have done). Growing up, drawing was always something I gravitated towards. Rather than go outside and play, or watch TV (if I did watch TV, I often did with a sketchbook on my lap), I much preferred locking myself up in my room to doodle.

When I finished college, I was accepted in the Biology program at McGill University but at the last minute, tried to apply to the MelHoppenheim School of Cinema at Concordia University, in Film Animation. When I was accepted in both, the decision was obvious and I enrolled at Concordia University.

I worked in the animation industry for 3 years until I found myself bored and uninspired from designing other people's creations day by day.  I was still sketching a lot for myself, creating worlds and characters. I wanted these sketches to be seen, to go somewhere. I submitted my portfolio to numerous publishers across the Globe out of curiosity- to see if I could make it- very much the same way I had applied to Concordia University a few years back.

In 2009, I received my first positive letter and first project. Over the years, my network has grown, I have learned a great deal.

It looks like you use watercolor as your medium for illustrating books (at least, from a very non-artistic person’s perspective!). What do you enjoy about this medium (or any other if I’ve gotten it wrong!), and why do you choose it for your illustrations?

I have always used watercolor. Somehow, no other material interested me. Perhaps my father's work has influenced me without even realizing. He uses acrylics, but dilutes them in water and paints these beautiful pieces on rice paper. The shapes and transparency that appear with wet on wet and dry on wet has always been so fascinating to me. So much unexpected beauty is revealed once the paint drops on the surface of the paper. I find that magical. 

Watercolor is so challenging to control and I have a lot to learn but I really enjoy exploring the possibilities and sometimes letting myself be surprised by happy mistakes.

You’ve illustrated many children’s books. Can you talk about one or two that were particularly meaningful for you and why?

I often find myself dissatisfied with my work once it is published. I think because by the time the book is out, I know that I have improved in some way and that I would be able to do it better now. I have illustrated close to 40 picture books (I have lost count) but each one of them was a stepping stone, a means to explore, make mistakes and learn. Each new book I produce, I am hoping is a step towards an even better book.

To answer your question, the book that is really consuming me and making my recent days pure moments of joy is an upcoming picture book called "Trefle" with author and publisher Nadine Robert (Comme des Geants). I have published two prior books at Comme des Geants (L'Abri by Celine Claire and Je suis Petite written by me) but this is the first one we collaborated on together. She wrote the manuscript based on some sketches I had done for her a few years back. It is 62 pages long and is filled with images of woods, streams, a bird and a goat. I absolutely love to paint nature and so this project has been incredibly rewarding.