Illustrator chat: Beth Suzanna

Beth, you have a gift for interpreting Jordan’s beautiful prose, capturing the story so beautifully in your sweeping, colourful illustrations. Where did you start when you got the manuscript?

Thanks so much! I always start by jotting down all the emotions that come to mind while reading Jordan’s writing. Lines feel like springboards, and I instinctively start sketching key visuals that pop into my mind in any order! What do Harry and his dad look like here? How do they interact? What are their mannerisms? At the very start, it’s all about exploring and not overthinking.

Did you model Harry or his dad on any real-life people, like your friends or family?

Capturing Harry and his dad’s relationship was one of the things I was most excited for when I read the story. I base a lot of my illustrations on real people. But rather than one set person, it’s an amalgamation of the people in my own life and even families I met working on my debut picture book! Harry’s dad’s temperament is very similar to my own dad’s calm presence. I loved the opportunity to positively represent Black fatherhood in a celebratory way that mirrors my own experience.

Which was your favourite illustration to create?

It has to be the illustration of Harry and his Dad looking into the fish bowl. It was one of the very first sketches I did, as I was immediately gripped by the lines: ‘His dad paused for a moment. Then he decided that trust in his son was more important than fear of the unknown.’ I wanted to capture this quiet and contemplative moment between them, where Harry’s mind is full of questions that his dad doesn’t always have the answers to, creating a safe space that mirrors the bubble we see later on in the book.

That is a beautiful illustration. Your pastel style and palette choices are so distinctive and emotive. How important is texture and colour to you and your work and, perhaps, to this book?

Colour is always a big driving force for me. I start everything in small colourful sketchbooks where I cook up colour combinations for each spread. It’s a way to capture energy and emotion. When we see Harry and his dad in a domestic home setting, the warm orangey glow feels like safety. As he descends deeper and deeper down into the sea, the colours get darker and darker, showing his uncertainty.

I try not to work up my illustrations too much, so you get that gestural, sketchy, pastel feeling. I want them to feel alive and like they're bursting off the page!

They certainly do that! Let’s take a step back. Can you tell us a bit about yourself? Was illustrating children’s books always on the cards for you?

I’ve always loved how picture books are our first introduction to art! It sparks creativity and joy above everything else. Being mixed race growing up, I felt there wasn’t the best representation in books. I wrote my dissertation on the importance of diverse representation in picture books!

My work spans many different industries from editorial to commercial projects, which I love. I think it always allows me to create from a unique place, outside of boxes or cliché prescriptions. Whatever the project, at the core is the through line and mission to create uplifting illustrations centred around community and connection.

What’s your favourite thing about being an illustrator?

It’s such an honour to get to do what I do. Using your creativity to bring to life small ideas and share them with others. It’s always been the dream. Meeting families and readers from our debut book has made me feel even more appreciative, knowing who this work is for.

Both See for Yourself and The Missing Piece portray children of colour and strong family connections. How important is inclusivity and authentic representation in your illustrations?

Inclusivity and authentic representation are everything in my work! Illustration is an opportunity to celebrate diverse communities and showcase individuality. With The Missing Piece, it’s showcasing diverse households and families. With See For Yourself, it’s a beautiful father-son bond rooted in openness, care and going deep into our feelings.

On feelings, you mention on your website that children are more emotionally intelligent than adults give them credit for, and that picture books are a great way to get them to explore their emotional intelligence and identity. Can you expand on this a bit, please?

I think we often think we’re teaching children, but in many ways, they are the ones teaching us. Their perspective on life is free and instinctive, and something we can learn a lot from. This book really hones in on that by highlighting the importance of listening to the younger generation and being open to learn from them. I think this is particularly true surrounding masculinity and creating a safe environment from an early age, where fathers and sons can connect.

When you’re not illustrating, what do you do for enjoyment or relaxation?

Creativity is my biggest outlet, and I’m a big fan of seeing others’ work as well as creating my own. Gallery visits fill up my cup and get me itching to get back to my desk.

When I want to completely switch off from stress, running is my go-to. I’m part of Run Dem Crew in London, an amazing community of the best people!

Do you have any other book news you can share with us?

We’re so excited to finally share this book, and have got a number of fun events over summer, kicking off with Brighton Festival this weekend!

Finally, would you rather venture to the bottom of the sea with Harry or above the clouds with his dad?

I’d have to dive down, as ‘trust is more important than fear of the unknown!'.

See for Yourself by Jordan Stephens and Beth Suzanna, published by Bloomsbury Children’s, is out now.

Read our IBC review here.

Thanks to Beth Suzanna and Bloomsbury Children’s for their kind permission to use the book cover and inside pages for this blog post.