Jan Brett
Jan Brett
Jan Brettis an American illustrator and writer of children's picture books. She is known for colorful, detailed depictions of a wide variety of animals and human cultures ranging from Scandinavia to Africa. Her best-known titles include The Mitten, The Hat, and Gingerbread Baby. She has adapted or retold numerous traditional stories such as the Gingerbread Man and Goldilocks and has illustrated some classics such as "The Owl and the Pussycat"...
NationalityAmerican
ProfessionChildren's Author
Date of Birth1 December 1949
CityNorwell, MA
CountryUnited States of America
The books take a year just to do the drawing. I will travel to a country to do the research and get ideas. Sometimes I don't travel to do research, but mostly I do. It takes a long time, but do I ever get tired of it? Not really. The characters kind of grow and evolve.
I knew that I wanted to be an illustrator since I was in kindergarten. I can remember the exact day. The art teacher usually came to our classroom once a week, but she was absent that day. Instead, our regular teacher gave us each a huge piece of paper and crayons, and we could do whatever we wanted.
When I was little I used to wish I could talk to the illustrators because I wanted to discuss something about the books. With so many of the other art forms that children experience, such as movies and television, they don't get to control the pace.
I always feel like my book is a success when I see a child reading it, and they have their pointer finger out, and they kind of keep their place as they look all around the page. I've always been impressed by how children are so observant.
Teachers have to respect the privacy of students' creative life, but at the same time give them a chance to express themselves.
People may think that because I have illustrated and written all these books it must be easy for me, but it's not really easy for me. The drawing part is easy - I love doing it. But continuing to move forward is hard.
I like to pretend that each book is my first one and last one, because it takes a tremendous amount of energy to do a book.
The detail in my work helps to convince me, and I hope others as well, that such places might be real,
When I was little, I loved books that gave me lots of detail so that I felt like I could be transported to this other place, or, in the case of an illustration, I felt like I could walk into the page.
A children's book is the perfect place where young readers can understand the world because they can take a deep breath and look at it and imagine and contemplate while they're looking at.
Writing a story is like going down a path in the woods. You follow the path. You don't worry about getting lost. You just go.
My grandmother would give me a beautiful book each year. I especially loved the Beatrix Potter books. They were very detailed. And I promised myself that was what I'd do. I also loved the big words she used. I was excited because I knew what they meant from the context. I put a few big words in for just that reason.
When I was little, I would close my eyes and put my finger on a page. Then in my mind, I would go to that place.
I would like teachers to look deep because sometimes kids do have a faade that they put up because they feel vulnerable. Their creative truth may not be ready for their friends to see.