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Many of the illustrators that we selected are also the

authors of their stories, like Einar Turkowski, who

has developed a highly original, microscopically fine

pencil technique that requires him to work for a

year or more on a single book. Markus Lefrançois

employs 19thcentury illustrative forms, while Stella

Dreis’ fairytale picture collages contain echoes

of Bosch and Bruegel the Elder. Julia Friese always

chooses new techniques for her projects and yet her

style remains unmistakable; Stefanie Harjes often

presents her characters in an associative and impul­

sive way.

Katrin Stangl does eyecatching work with printing

techniques, and Moni Port, Judith Drews and Lena

Pflüger conceptualise things for the youngest readers

in very diverse ways with the design of their board

books. Kristina Andres subtly demonstrates how

humour can break fresh ground in picture books, as

does Ina Hattenhauer with her unconventional

strokes, Daniel Napp with his irrepressible dynamism

and Elsa Klever with her appreciation of the bizarre.

Jan von Holleben, on the other hand, has a com­

pletely different working style, collaborating with

children to develop photo scenes which he mounts

alongside numerous props in large collages. Many

artists are also attracted by the possibility of bridg­

ing into digital techniques: Dirk Steinhöfel con­

structs each figure and scene on the computer and

brings them to life with graphics programs, Joëlle

Tourlonias develops her pictures digitally, based

on sketches, and Julia Neuhaus designs animations

with Till Penzek that are accessible in her picture

books as well as in this catalogue via QR codes.

After illustrating numerous books with drawings

and collages, Antje Damm has discovered a new

represented a cross section of the current German

illustration scene: 30 artists that have yet to be

discovered on the international picture book stage

(who, by chance, span virtually the whole alphabet

from A for Andres to Z for Zaeri) and 55 “masters”

(whose names also extend from A for ATAK to Z

for Zauleck).

Diverse genres are represented in our selection,

from fairy tales to nonfiction, to comics, graphic

novels and apps. And the illustrators work in very

diverse ways: with fine brush and pencil strokes

or with elaborate mixed media, with watercolours,

paper cuts or photography, producing 3D models,

digital collages or animations. While Sonja Bougaeva,

for example, approaches her characters in a highly

emotional way through her use of colour, Anke Bär

is just as skilful and meticulous in the way she inter­

weaves factual information with historically accurate

pencil and acrylic drawings. Gerda Raidt researches

ideas for her nonfiction books in minute detail and

at the same time demonstrates her talent for illus­

trating children’s storybooks in her new illustration

of Enid Blyton’s

Famous Five

series.

Viewers are amazed by Sonja Danowski’s opulent,

almost photorealistic visual worlds, full of lovingly

arranged details; Tobias Krejtschi and Jonas Lau­

ströer surprise us with powerful, painterly visual

universes. Torben Kuhlmann has established himself

as a rising star among the younger picture book

artists with his debut

Lindbergh

, which positions

film quotes within his stunning watercolours. An­

other upandcoming star is Sebastian Meschen­

moser, in whose stories each individual pencil stroke

is a revelation and who has been able to incorporate

another aspect of his artistic skill in his latest pic­

ture book: oil painting.