I’m a big fan of illustration as an art form, so couldn’t resist seeing the dual Quentin Blake exhibitions of his drawings and paintings for The BFG (written by Roald Dahl) and The Tale of Kitty-in-Boots (written by Beatrix Potter) at The House of Illustration in Granary Square, King’s Cross, London. I was particularly keen because you get to see his work “in the flesh”, as opposed to reproduced in books, and to get an idea of his drawing and painting methods.

Having previously illustrated a book myself, where I did my drawings in A3 (or larger formats) which were then scaled down to retain detail, I had wanted to know: His works are often very detailed, so does Blake draw huge images and these get scaled down? Or does he draw to scale what is going to get published? And, what kinds of pens does he use? And these two exhibitions didn’t disappoint, even though I approached it with a bit of a forensic mindset. For Blake fans, these two exhibitions are highly recommended.

Quentin Blake’s materials on display at the House of Illustration

The first, The BFG in Pictures, features his work for The BFG, including original artworks from the first edition of the book, and some background on how the first illustrations were commissioned. It goes on to include further illustrations created for subsequent editions, with reference made to consultations with Dahl about what the BFG should wear. It also includes black-and-white pen drawings showing off his loose flair and his seemingly effortless ability to capture the spirit of his characters. We see the transformation of the BFG character over time, settling into the figure most of us know today.

Quentin Blake’s work on Kitty-in-Boots on display at the House of Illustration

The second exhibition, of his work for The Tale of Kitty-in-Boots, opens with a table containing Blake’s materials, and a work in various stages of progress (which as an artist is an engrossing installation to see). The first part of the exhibition also includes the single drawing Beatrix Potter did for the frontispiece of the book, and a page from her manuscript, which was discovered in the V&A in 2014. This exhibition shows off a substantial collection of original artworks by Blake for the book, and certainly sated my curiosity about what materials he uses, and what sizes he works in.

This dual exhibition is a wonderful insight into how he works. Blake works to scale – creating the illustrations at roughly the same size as they appear in print – and works in pen, of the sort involving nibs and pots of ink, which explains the rough mark-making he sometimes employs in depicting characters.

I started out believing Blake had a talent for being lucky in throwing together random lines which just ‘work’. Some lines are haphazard, some clear and certain, some lose their ink halfway and become fainter lines, which then adds to the richness and subtleties of his characters. But soon I realised that these lines that appear careless and random are in fact very deliberate, despite their whimsical, free-flowing appearance. His lines are anything but careless and unconsidered; they embody movement and describe the character personality and physique. Not one of them is misplaced.

Quentin Blake’s work on Kitty-in-Boots on display at the House of Illustration

He draws first, then adds washes of colour. I was startled to discover the colour is applied with as much care and deliberate, decisive action as the lines. It takes a lot of practice to make splotches of colour look both unplanned and yet perfect for the artwork: it is something I grapple with fairly often, as I venture into watercolours. Too much consideration and planning can lead to a tired and over-worked surface, as you kill the spirit of the piece with too much attention.

It takes great skill to make illustrations look so easy. That is the sign of a consummate artist, in my view. So, if you’re up for seeing some work by one of the great living artists of our time, head on over to The House of Illustration, before the exhibitions end!

The BFG in Pictures is on display until 2 October 2016. The Tale of Kitty-in-Boots is exhibited until 5 February 2017. http://www.houseofillustration.org.uk/whats-on