Since early childhood, driven by a sense of wonder in human interaction, South African illustrator Robert Dersley has carved a distinctive path through the world of visual storytelling. From corporate commissions to quirky children’s books, his work blends the imaginative with the heartfelt — always marked by a thread of kindness and an eye for cultural nuance. As the creative force behind the firm Illustrious, Dersley reflects on the joys and challenges of illustrating for children, the importance of preserving African storytelling traditions, and the urgent need to support illustrators across the continent. In this conversation, he speaks to Virginia Clay about his journey, inspirations and hopes for a more inclusive, vibrant future in African children's publishing.

Tell me about your journey into illustration; what drew you to this field in the first place?

I have always been drawing; ever since I was a child, my mother said I never was without a scrap piece of paper and crayons. It was inevitable that I’d end up in the creative industry. 

What was your early artistic training or inspiration, and how has that shaped your career?

I took art as a subject in school and naturally as a field of study after school. My preference was to go into Fine Art, but financial obligations pushed me into a more immediate earning application — graphic design. For most artists and creative folk, most learning is through trial and error. Being open to new experiences, good and bad, and allowing yourself to learn from them, fills the creative well.

How did Illustrious come about, and what does the name mean to you? 

I see it as a self-fulfilling prophecy. At the end of my life (a creative career never ends), I want to look back on so much work that I forget I did some of it!

Your portfolio spans various genres and formats — can you describe the range of your illustration work?

There is a more corporate element to my work, which is bread and butter. No less fulfilling than my more creative work, but I need the two elements to keep my life in balance. In my corporate work, I am the voice of my client. And I am only satisfied with the work when they are, obviously within reason. Being an artistic expression, it will always have my stamp – that being a blend of corporate and art. 

Are there any particular themes, styles or stories that you find yourself repeatedly drawn to?

I love human interaction. Translating a moment shared between/among people. How folk can work together or against each other. The golden thread through life is how we engage with each other. I try to show this both in my corporate and creative work. And with my creative work I tend to explore themes of the unknown, edgy peripheral concepts. I am drawn to find the beauty in the ugly.

How do you approach adapting your illustration style to different types of books, audiences or cultures?

Having grown up in a multicultural world, I believe I have a sensitivity imbued into my approach. It is not something I am necessarily actively aware of, but upon reflection I see it in my work.

What do you find most rewarding and most challenging about illustrating children's books?

I have a natural inclination towards fun and approachable art. The challenging aspect of children’s books would be timing. One can throw so much love into the illustrations it can never end. 

Could you describe one or two children's books you've illustrated that hold particular meaning for you?

I am busy illustrating a book about a kitten that doesn’t want to be told what to do. She gets herself into all these outlandish situations but eventually makes her way back home. I love this story as it’s playful without being overtly educational. I remember when I was a kid, if a book had even the faintest whiff of a lesson I’d leave it. So, I always have that in mind: the book must be as fun as possible.

How do you ensure your illustrations connect with young readers across diverse contexts?

There is a thread of kindness that runs across humanity. I weave in elements of kindness. Even when a character is angry, they are only angry or mean at that moment. Nothing is absolute, even a villain has a heart.

Have you illustrated books with more of an African focus? How did those projects come about, and how do you approach them differently?

I haven’t drawn any traditional African stories yet. But as I mentioned, we live in a multicultural world and here in South Africa there are blends of many cultures — all very rich and wonderful. By virtue of living where I do, it’s in the DNA of my work. 

In your view, what makes African stories and settings particularly rich or exciting for illustration?

Storytelling is part of many if not all African cultures. Imagination is at our fingertips, and it doesn’t take much to ignite it. I love fables, and although they are lesson-focused, they hide their lessons in the fantastical and therein lies their power and beauty.

Are there any African writers or illustrators whose work has inspired you or whose vision you align with?

Not necessarily children’s literature but I am inspired by more mature work with fantastical qualities, such as the work of Ngũgĩ wa Thiong’o. 

How do you see the current state of children’s publishing in Africa — what’s changing, and what still needs to change?

It is rich and thriving, but there is always room for more. I believe there ought to be a focus on sharing cultures and inclusivity. We ought not to be afraid to throw ourselves into another culture and learn. And from this our creativity and art can grow. 

What are some of the key challenges facing African illustrators and publishers today?

Quite frankly, it is budget. A children’s book can take months to illustrate, with many edits — from character sketches to roughs, and through to the final artwork. Very often the illustrator is apportioned a very small budget, and publishers rely on the illustrator’s drive and love for illustrating to take on the project. If more budget was apportioned, more artists could consider this as a career, but unfortunately most of us have to supplement with other work. 

In your experience, how can illustrations contribute to preserving and promoting African storytelling traditions for younger generations?

Bringing African storytelling into schools as a life skill would be a start. I can see a blend of graphic recording (drawing live in front of people) with a storyteller would go a long way to inspiring children and reminding them of their rich heritage that can be shared by all.

Where do you see the greatest opportunities for growth in African children’s publishing — and how do you see yourself contributing to that future?

There is a small but growing group of illustrators in South Africa. We share ideas and pass work forward when and where we can. I think through individual ownership and intent, we can grow and develop ourselves and each other.

What do you hope children feel or take away from your illustrations and the books you illustrate?

Joy and wonderment in the world. Going back to the golden thread of humanity — interaction — how life can be filled with joy and wonderment in these interactions. Even in the smallest of moments, we can find our inner joy.

If you could collaborate on a dream project — perhaps with an African author or cultural story — what would that look like?

There are so many! If a story resonates with me, I’m so happy to take on the project. I believe this is true collaboration. We each have our area of expertise but input, discussion and a shared vision is so important in the creation of something special.

Looking ahead, what kinds of stories or themes are you most excited to explore through your illustrations?

Stories with intent. Not necessarily overtly educational stories, but rather stories that inspire children to dream and to challenge their thinking and preconceptions that often come with a society saturated by invasive media.

What advice would you give to young or aspiring illustrators, particularly those on the continent who want to work in children's publishing?

Have a goal and stick to it. Check in with yourself every so often to see if you’re on track and check that this is still what you want. It is not failure to adjust your goals as you go. 

Robert Dersley’s work can be found at: https://www.illustrious.co.za/

Instagram: @robertdersleysillustrious

Virginia Clay is a Nairobi-based children’s author and editor. virginiaclay.co.uk