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Tony Ross

Tony Ross (born Anthony Lee Ross; 10 August 1938) is a author and renowned for his contributions to , having created and illustrated thousands of books over a career spanning more than five decades. Born in and raised partly in after his family relocated during , Ross is celebrated for his humorous, expressive illustrations that bring wit and energy to stories for young readers. His work has been published worldwide, earning him recognition as the best-selling illustrator in the for three consecutive years, and he was nominated for the prestigious Award in 2004. Ross studied at the Liverpool School of Art and Design, where he honed his skills in and . After graduating, he worked as an in and later as a in illustration at Manchester Polytechnic from 1972 to 1985, while also contributing cartoons to magazines such as Punch. His first children's book was published in 1976, marking the start of a prolific output that includes authoring and illustrating his own series, such as the books and I Want My Potty, alongside collaborations with acclaimed writers. Among his most notable contributions are the illustrations for Francesca Simon's series, ' children's novels, Roald Dahl's classics like , Enid Blyton's works, and Michael Palin's storybooks, totaling over 2,500 illustrated projects. Ross's distinctive style—characterized by bold lines, exaggerated expressions, and playful humor—has made his books enduring favorites, with multiple nominations for the for his artistic excellence. Now based in , , he continues to influence generations of young readers through his timeless and engaging visual storytelling.

Early life and education

Birth and family background

Anthony Lee Ross was born on 10 August 1938 in , , . His parents were Eric Turle Lee Ross, a businessman and , and Effie Ross (née Griffiths). Ross's great-grandfather was an illustrator who worked for , contributing to the family's creative legacy.

Childhood relocation and early interests

During , Tony Ross's family relocated from to to escape the threat of air raids, a move prompted by the outbreak of the war in 1939. Born in in 1938, Ross was evacuated at the age of one, joining his parents in a that offered relative safety from the urban threats. This wartime displacement, common for many British families, marked a significant shift from city life to the countryside, influencing his early experiences amid the national upheaval. In , Ross lived with his family in a small village, where the quieter, setting contrasted sharply with his origins. He attended local schools, initially in a modest village hall that served as a makeshift , fostering a during the war years. These early school experiences, before transitioning to more education, provided a stable yet rudimentary environment that allowed him to adapt to rural life while the conflict continued. His parents played a supportive role in this relocation, prioritizing safety and stability for their young son. Ross's nascent creative inclinations emerged prominently during this period, sparked by exposure to popular children's comics and books that captivated his imagination. He was particularly drawn to the Rupert Bear annuals, whose whimsical adventures and illustrations ignited his interest in visual storytelling, alongside Richmal Crompton's Just William series, which offered humorous tales of mischievous youth that resonated with his own playful spirit. He began to sketch at the age of five in , developing self-taught drawing habits, often capturing scenes from his surroundings in simple, exploratory lines. His family encouraged these pursuits; his father, a member of the known for conjuring tricks, demonstrated that creative professions could be rewarding, while his mother provided ongoing emotional support for his artistic endeavors.

Formal education

Ross attended Grammar School in , to which his family had relocated during . While there, he experienced initial career doubts, despairing of fields involving numbers and instead gravitating toward artistic pursuits. This led him to enroll at the Liverpool School of Art and Design—now part of —in the late 1950s, where he completed his studies with diplomas awarded in 1960 and 1961. His curriculum centered on , , , and cartooning, skills he honed by selling drawings to publications like the New Statesman and Punch during his time at the institution.

Professional career

Early professional roles

After completing his studies at the Liverpool School of Art and Design, Tony Ross entered the professional workforce in the early 1960s as a freelance , contributing humorous illustrations to established British magazines such as Punch, , and Time and Tide. This role marked his initial foray into commercial creative work, where he developed a distinctive style blending wit and visual economy suited to periodical formats. His freelance contributions during this period provided essential income while allowing flexibility to explore illustrative techniques beyond . Ross soon transitioned to salaried positions in graphic design, beginning in 1961 as a designer at Littlewoods in Liverpool, where he produced visual materials for retail and promotional purposes. From 1962 to 1964, he served as a graphic designer for Smith Kline and French Pharmaceuticals in Welwyn Garden City, Hertfordshire, creating commercial illustrations for packaging, advertising, and corporate communications. These roles immersed him in the demands of applied design, emphasizing functionality and client briefs over artistic experimentation. In 1964, Ross advanced to the position of art director at Brunnings Advertising in Manchester, overseeing creative teams and directing visual campaigns for various clients until 1965. During this time, he continued to generate early commercial illustrations, including artwork commissioned for public institutions such as hospitals and schools, which highlighted his versatility in adapting fine art principles to practical, audience-oriented outputs. These experiences in advertising and design agencies solidified his expertise in collaborative, deadline-driven environments. From 1965 to 1986, Ross worked as a lecturer in illustration at Manchester Polytechnic (now ), advancing to from 1972 to 1985. This academic role allowed him to teach while pursuing freelance and book illustration opportunities.

Breakthrough publications

In 1976, Tony Ross joined the newly established Andersen Press, marking a pivotal moment in his career as he provided illustrations for their inaugural publication, a retelling of . This debut picture book showcased Ross's distinctive humorous style and established a enduring partnership with publisher Klaus Flugge, who recognized Ross's potential early on. The work's release coincided with Andersen Press's launch, positioning Ross as a key figure in the fledgling imprint's initial success. Building on this foundation, Ross began creating his own authored-and-illustrated titles in the late , including innovative retellings of classic fairy tales such as in 1978. These early picture books demonstrated Ross's ability to infuse traditional stories with whimsical, contemporary twists through his lively line drawings and vibrant watercolors, appealing to young readers and setting the stage for his growing reputation in . The positive response to these publications, evidenced by the sustained demand for Ross's work, facilitated his gradual transition from and roles to focusing primarily on illustration by the early 1980s. His prior experience in advertising art direction honed his commercial sensibility, which seamlessly translated to engaging children's visuals during this breakthrough phase.

Major series and collaborations

Ross created and illustrated the Little Princess series, beginning in 1986 with the title I Want My Potty!, a humorous tale of a demanding young royal learning about . The series, published by Andersen Press, follows the everyday whims and tantrums of the Little Princess and her castle companions, expanding to over 20 books that explore themes of independence and family dynamics. Key installments include I Want My Mum! (1999) and I Don't Want to Go to Bed! (2000), with the collection adapted into an animated television series airing on Channel 5's block since 2007. A landmark collaboration for Ross came with on the series, debuting in 1994 with the eponymous collection of short stories about a prank-loving boy and his family. Ross's black-and-white line drawings emphasize Henry's cheeky exploits and sibling rivalries, helping the series amass global sales exceeding 25 million copies across more than 30 languages as of 2017. The partnership, spanning over 25 books, solidified Ross's reputation for capturing childhood mischief, with titles like Horrid Henry's Christmas (2006) becoming perennial favorites. Ross's illustrations have been integral to David Walliams's bestselling children's novels since their 2008 debut collaboration on The Boy in the Dress, a story of identity and football fandom. This ongoing partnership includes over a dozen titles, such as Mr Stink (2009), Gangsta Granny (2011), and The Ice Monster (2018), where Ross's expressive artwork complements Walliams's comedic narratives about underdogs and family bonds. The duo's work has topped UK charts repeatedly, with combined sales surpassing 55 million copies worldwide as of 2024. Earlier in his career, Ross teamed with Jeanne Willis for the Dr. Xargle series, launching in 1988 with Dr Xargle's Book of Earthlets, a satirical portraying an professor teaching his class about human babies. The seven-book run, including Dr Xargle's Book of Earth Hounds (1989) and Dr Xargle's Book of Earth Tiggers (1990)—the latter shortlisted for the —uses Ross's whimsical illustrations to highlight cultural misunderstandings through an extraterrestrial lens. Ross also illustrated Lynne Reid Banks's Harry the Poisonous trilogy, starting with the 1996 novel about a timid venturing into the world. His detailed depictions of the insect protagonists and their perilous "Hoo-Mins" encounters enhanced the books' adventurous tone, with sequels Harry the Poisonous Centipede's Big Adventure (2000) and Harry the Poisonous Centipede Goes to Sea (2006) extending the subterranean saga. Another significant partnership was with on the Amber Brown series, commencing in 1994 with Amber Brown Is Not a , chronicling a girl's humorous with her parents' divorce. Ross provided spot illustrations for all 11 original volumes, including You Can't Eat Your Chicken Pox, Amber Brown (1995) and Amber Brown Sees Red (1998), infusing the stories with vibrant energy that mirrored the protagonist's spirited personality. In addition to these collaborations, Ross authored and illustrated standalone titles within the Little Princess vein, such as I Want Two Birthdays! (2008), where the princess envies the queen's dual celebrations and schemes for her own. This book stands out for its widespread library holdings and enduring appeal among young readers.

Later career developments

In the 2010s and 2020s, Tony Ross continued his prolific collaboration with David Walliams, illustrating numerous best-selling children's books that built on their established partnership. Notable titles from this period include Gangsta Granny (2011), Demon Dentist (2013), The Midnight Gang (2017), The Ice Monster (2018), Fing (2020), Robodog (2022), and The Blunders (2023), among others, contributing to Walliams' output of over a dozen works featuring Ross's distinctive humorous style. These illustrations helped maintain the series' popularity, with limited but ongoing new releases post-2020 reflecting Ross's selective focus on high-impact projects. Ross's involvement extended to adaptations of his own creations, particularly the Little Princess series, which premiered as a British animated television program in 2006 and aired on Channel 5's block from 2007 onward. The series, produced by The Illuminated Film Company, ran for multiple seasons through 2020, featuring 120 episodes that brought Ross's willful young protagonist to life with voices including as the Little Princess. Reruns and special broadcasts continued on into the late and early , enhancing the character's reach beyond print. During this phase, Ross received significant professional recognition for his enduring influence. He was named the best-selling children's illustrator in the UK for three consecutive years in the mid-2010s, with sales exceeding £9 million in 2015 alone. Additionally, Public Lending Right data identified him as the UK's most-borrowed illustrator in public libraries for three consecutive years around 2017, surpassing contemporaries like Nick Sharratt and Axel Scheffler with over one million loans annually. These accolades underscored his cumulative impact, having illustrated over 2,000 books throughout his career.

Artistic style and influences

Illustrative techniques

Tony Ross primarily employs pen-and-ink line drawings as the foundation of his illustrations, often combining them with watercolor washes or coloring to achieve vibrant, transparent color blocks that enhance the visual appeal without overpowering the line work. He favors a single, well-worn pen for its blunt nib, which produces a distinctive scratchy finish, allowing for fluid yet textured strokes that prioritize line quality over precise detail. This approach enables him to assess compositions initially in black-and-white, ensuring structural integrity before adding color. His compositions emphasize dynamic and humorous elements, characterized by exaggerated facial expressions and energetic lines that convey movement, emotion, and whimsy, viewers into the through lively visual . These techniques create a sense of vitality, with bold, fluid lines amplifying the comedic intent and making characters instantly engaging. Ross adapts his methods across formats, starting with black-and-white line drawings for early cartoons and editorial work, then transitioning to full-color applications in picture books to suit the demands of printed media and audience expectations. Over time, his practice has evolved from purely traditional media like pen, ink, and watercolor to incorporating occasional digital enhancements for coloring and final adjustments, providing greater flexibility in production while retaining his signature hand-drawn aesthetic.

Key inspirations and evolution

Ross's early creative impulses were profoundly shaped by childhood favorites that blended whimsical humor with engaging narrative illustration, notably , , and . These stories, encountered during his wartime relocation to , instilled a lasting appreciation for capturing mischief, adventure, and emotional depth through simple yet evocative visuals, elements that would become hallmarks of his own work. Transitioning to his professional career, Ross drew from a rich tradition of classic children's book artists, including his great-grandfather who illustrated for , fostering an admiration for illustration as an integral part of literary storytelling. Ross's artistic style underwent significant evolution, beginning with the more structured and precise graphics of his 1960s advertising roles as a designer at Laboratories and at Brunnings Advertising. By the 1980s, his illustrations had shifted to a playful, child-centric whimsy, evident in works like I'm Coming to Get You! (1984), where bold colors and scratchy lines conveyed energy and humor tailored to young audiences. This transformation reflected a deliberate move toward freedom in expression, sustained through collaborations such as those with on (1988), and persisted into the 21st century with ongoing series like and , maintaining vitality amid digital adaptations. Central to Ross's approach is a philosophy that views as a form of driven by visual , where images not only complement text but reveal deeper layers of humor and to encourage re-reading and . He has emphasized that children's books, even in fantastical settings, mirror life's challenges to help young readers navigate , from personal experiences like wartime strictness to infuse and into his characters.

Personal life

Relationships and family

Tony Ross was born to Eric Turle Lee, a businessman and amateur who was a member of the , and Effie Ross, whom he has described as a devoted and "damn good mother" he deeply adored. No public information exists regarding siblings. Ross has been married three times, all of which he has recalled as happy unions, though he has attributed their dissolutions to his own and self-centered tendencies rather than any fault in his partners. One marriage was to Carole Jean D'Arcy, which ended in . Earlier biographical sources indicate additional marriages to Joan and , with the latter occurring in 1979. He is the father of four children from his marriages, including daughters (adopted from first marriage), (second marriage), (third marriage), and stepson George (second marriage); everyday childhood moments of one of his daughters profoundly shaped his illustrations, particularly in the series. The debut title, I Want My Potty! (1986), for example, stemmed directly from her reluctance to abandon her potty at bedtime, infusing the books with relatable domestic humor drawn from family dynamics. Ross maintains a low profile on his current personal life. Following his marriages, he has been in long-term relationships, including with a partner named Susie—a longtime admirer of his work—in the late 2000s, and later with Wendy, described as his life and writing partner around 2014.

Residences and lifestyle

His childhood evacuation to during fostered a lasting affinity for the region that influenced his adult residential choices. In adulthood, Ross established long-term roots in . Later in his career, he relocated to rural near Newtown, residing at Peachwood in Abermule until around 2015, when the property was placed on the market. By subsequent accounts, he returned to , settling in , where he continues to live in a countryside setting conducive to his creative work as of recent publisher biographies. Ross leads a reserved lifestyle centered on his profession as an and , operating primarily from a home studio that allows him to focus on drawing and storytelling without frequent public engagements. His personal interests encompass small boats, an affinity for cats, collecting toy soldiers, and a fondness for lamb cutlets, reflecting a preference for simple, introspective pursuits in his rural surroundings. Approaching his late 80s in the , Ross has reported maintaining good physical health, with all limbs functioning well and no major injuries in his lifetime, enabling him to sustain an active output of .

Awards and honors

Major awards won

In 1986, Tony Ross received the in the picture books category for Ich komm dich holen!, the edition of his earlier work I'm Coming to Get You! (), recognizing his innovative and humorous illustration style that captivated young readers across languages. This prestigious award, one of Europe's leading honors for , was presented during the annual ceremony in , marking a significant early milestone in Ross's by elevating his profile internationally and encouraging further translations of his books into European markets. Ross earned the in the in 2003 for Tadpole's Promise, co-authored with Jeanne Willis, praised for its witty depiction of and the illustrations' clever visual that highlighted themes of change and irony in a child-friendly manner. The award, announced at a ceremony attended by prominent figures in children's , underscored Ross's ability to blend text and imagery seamlessly, boosting sales of the book and reinforcing his reputation as a top in the UK, where it contributed to his recognition as the best-selling illustrator for multiple years. Ross has won the Silver Paintbrush Award, a Dutch honor for outstanding foreign illustrations in children's books, three times, highlighting his global appeal and distinctive line work that appeals to international audiences. These victories, awarded by the Netherlands' Kinderboekenweek organization during annual events in Amsterdam, included recognitions for works such as Jack and the Beanstalk (1980), Towser and Sadie's Birthday (1984), and The Second Princess (1995), each celebrating his playful yet precise artistic contributions that expanded his collaborations and market reach in . The repeated accolades solidified Ross's status as a leading , influencing subsequent projects and affirming the enduring impact of his style on .

Nominations and commendations

In 1990, Ross received a highly commended honor for the for his illustrations in Dr. Xargle's Book of Earth Tiggers, written by Jeanne Willis, recognizing the book's distinguished artwork in British . In 1986, he was commended for the for I Want My Potty. Additionally, Slug Needs a Hug by Jeanne Willis, illustrated by Ross, was shortlisted for the Laugh Out Loud Book Awards in the Picture Book category in 2015, celebrating its humorous appeal to young readers. On the international stage, Ross was selected as the United Kingdom's nominee for the in 2004, an honor that underscores his sustained contributions to children's illustration and global esteem within the field. Beyond formal awards, Ross has earned commendations for his popularity among readers, being named the most-borrowed illustrator in UK public libraries in 2017 based on 2016 data, with over one million loans recorded. His status as the top-borrowed illustrator persisted in subsequent years, including 2018–2019, reflecting the enduring demand for his books in library systems.

Legacy and impact

Contributions to

Tony Ross has illustrated over 2,000 books throughout his career, profoundly influencing generations of young readers with his humorous and accessible visual style that brings stories to life through expressive, comic illustrations. His distinctive line work and whimsical depictions have made more engaging, particularly by simplifying complex emotions and scenarios into relatable, entertaining visuals that encourage early reading habits. In his series, Ross pioneered the integration of potty-training and everyday humor themes, transforming mundane childhood experiences into relatable narratives that resonate with young audiences and their families. Books like I Want My Potty! use light-hearted royal antics to address developmental milestones, fostering a sense of normalcy and amusement around topics often considered in literature. This approach has helped bridge the gap between children's real-life challenges and , making the genre more inclusive of daily life realities. Ross's collaborations with authors such as further highlight his role in promoting diversity and whimsy, as his illustrations enhance inclusive stories that celebrate differences among characters. For example, in Boogie Bear, Ross's artwork supports a about and individuality, contributing to broader themes of in contemporary children's books. These partnerships have amplified messages of inclusivity through playful, imaginative visuals that appeal across diverse reader backgrounds. His statistical impact underscores this legacy: Ross was named the best-selling UK children's illustrator for six consecutive years (2015–2020), according to The Bookseller's annual charts, with his works ranking as the most borrowed in UK public libraries as of 2017, reflecting widespread accessibility and enduring popularity.

Media adaptations and cultural influence

Tony Ross's illustrations have significantly extended beyond print media through successful adaptations into television and film. The Little Princess series, which Ross both wrote and illustrated, was adapted into an animated television program by Illuminated Films, premiering on Channel 5's Milkshake! block in 2006. The show, featuring a mischievous young princess navigating royal life, ran for multiple seasons through 2010 and has continued with reruns and recommissioned episodes into the present day, maintaining Ross's characteristic whimsical line work and humorous expressions in its animation style. Similarly, the Horrid Henry books by , illustrated by Ross, inspired a long-running produced by Novel Entertainment, debuting in 2006 and spanning over 250 episodes until 2021. This adaptation captured Ross's dynamic, exaggerated character designs, contributing to the series' global appeal among young audiences. In 2011, a live-action , Horrid Henry: The Movie, further popularized the character, drawing directly from Ross's visual interpretations to blend mischief with relatable family dynamics. Ross's works have achieved widespread international distribution, with his books translated into 40 languages and published in over 100 countries, fostering a global cultural footprint in . This reach is evidenced by awards such as the Silver Paintbrush in the and recognitions in , , , and the , highlighting the universal appeal of his playful, expressive style. Culturally, Ross's contributions are celebrated through institutional tributes and exhibitions that underscore his enduring impact. The holds significant examples of his illustrations in its permanent collection, including pen-and-ink works from (1981), exemplifying his lively line and humor. More recently, in 2024, the Heath Robinson Museum in hosted "Michael : The Illustrators," featuring Ross's original artwork alongside other prominent figures, drawing attention to his role in shaping collaborative children's storytelling. His distinctive scratchy line work has influenced subsequent generations of illustrators, who emulate its energetic and witty approach in contemporary children's books.

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    Windows into Illustration: Tony Ross - Books For Keeps
    Here Tony Ross explains the technique and thinking behind his illustrations for Jeanne Willis's latest picture book, Big Bad Bun, in which Fluff the rabbit ...Missing: advertising full- time