Literacy Learnings
Léargais Litríochta
Illustrator name: Tarsila Kruse
Title of shortlisted book: Ceol Na Mara
1. What was your earliest memory of reading/being read to?
From around age six, I recall always having books with me - whether visiting my cousins, sitting in the dentist's waiting room, or rushing to the bathroom. A small stack of my favourite reads was always at hand. Growing up, my home was a haven of books, with full shelves from floor to ceiling in the living room, creating an ever-present world of books and stories, Dictionaries, and a specific Disney collection with cassette tapes were my favourites. My father has always (and still does) carry books wherever he goes, immersing himself in reading whenever possible. I guess I inherited my love of books and curiosity from him.
2. When did you first begin to illustrate for an audience?
I am originally from Brazil, and my first job in Ireland was designing souvenirs; I had not considered illustration as a career, as I had only dabbled in it as a hobby. To my surprise, the images and products I created not only held commercial value but also resonated deeply with people. That moment sparked my desire to illustrate books for children. I enrolled in a weekend course on children’s books and began building a portfolio to break into the industry. After completing a few smaller professional projects, I was accepted into The Irish Guild of Illustrators (Illustrators Ireland)and from there, I reached out to publishers in Ireland, and a very special one - Futa Fata - offered me the incredible opportunity to illustrate my very first book, Ná Gabh ar Scoil! (Winner in the 5-8 Age Category at the Literacy Association of Ireland, 2017), written by Máire Zepf.
3. What book inspired you most as a young illustrator? Why?
Many wonderful picturebooks have inspired me, but a few hold a truly special place in my heart. Picturebooks are nothing short of magical, creating a captivating dance between words and images. They serve as children’s first direct contact with art, and illustrations are often their first form of reading. These books unlock endless doors to imagination and understanding, sparking curiosity and wonder. For example, Flicts (1969) by Ziraldo stands out for its abstract, powerful graphic imagery, conveying meaning without relying on concrete representation. Another remarkable title is Ida e Volta (1976) by Juarez Machado, a silent book that takes readers on a wild journey through a day in the life of a mysterious character we never get to see. Both books are highly evocative, highlighting that some stories transcend words.
4. What is the best thing about illustrating for a contemporary audience?
The most wonderful part is being able to directly connect with the same vibrant, contemporary audience through the books I make. I want my books, whether I illustrate or write them, to resonate deeply with children and to speak to their hearts. Travelling across Ireland to visit schools, libraries, and family events, I get to witness firsthand what sparks joy in children (and their grown-ups): their passions, dreams, aspirations, challenges, and stories. It’s a truly magical exchange that fuels my creativity and makes me want to make more books.
5. What is the most challenging thing about illustrating for a contemporary audience?
For me, one of the trickiest parts of illustrating for a contemporary audience is how varied everyone’s expectations and experiences can be. These days, books find their way into the hands of children from all sorts of backgrounds, and each child brings their own dreams, struggles, and perspectives. I always want the images I create to feel welcoming and meaningful to as many readers as possible, while still capturing the individuality of each character and story. Finding that sweet spot between something everyone can relate to and something that feels honest and true to the characters can be a challenge, but also a great opportunity.
6. What inspired you to illustrate Ceol na Mara?
The sea runs through the heart of Irish culture, and being embraced by both the country and the Irish-speaking community has been nothing short of a joy and an honour. Getting to illustrate yet another musical book by Tadhg Mac Dhonnagáin and John Ryan? With co-illustrations by the wonderful Úna Woods? It is such a privilege! In Brazil, I barely visited the beach, and here in Ireland, I’ve always lived close enough to the Irish coast to feel its moods and to be swept up by its wild beauty. The sea is part of my everyday landscape. Ceol na Mara is a unique and special book because it is a love letter to the sea: a mysterious cloak that wraps around our island, overflowing with magic, mystery, fun, laughter, and endless possibility.
7. What have you learned from the process of illustrating this book?
Working with Úna Woods on this book was pure delight - a creative adventure from start to finish. Every project brings its own waves, but Ceol na Mara was especially like the sea itself: lively, unpredictable, and full of rhythm. We wanted the energy to shine through on every page, weaving a shared colour palette and creating rhythm with our different illustrations. Look closely, and you’ll spot some repeating elements through the pages, and even a little paper boat may show up everywhere, inviting readers and listeners to join on this playful journey.
8. What advice would you give to an aspiring illustrator?
If illustrating children’s books is what you want to do: make stories, make books! Even if they’re a bit messy or unfinished. Show it to the world! Every book, every sketch, every wild idea is a step forward. We all have those days where we doubt ourselves (I still do!), but it’s not about being perfect. It’s about getting your ideas out of your head and into the world (and paper!). You only get better by making and creating, so give yourself as many chances as you need. If there’s a story or book begging to exist, let it out and share it. The world needs it.