Drawing the way home: Illustrator Pauline Pete on her artistic process and the creation of ‘Homesick House'

04/2026 Little Gestalten

Pauline Pete, the creator of Homesick House (German edition: Das Haus zieht aus), has developed a distinctive voice that connects with readers across generations. In this interview, she discusses her artistic process, the themes that drive her work, and how she balances storytelling for both children and adults.

Can you tell us about your path into illustration and storytelling? What inspired
you to pursue a career in children’s books?

Like many illustrators, it became clear to me very early on that I wanted to
pursue a creative path. Drawing has always been an essential part of my life.
However, the joy of storytelling and the desire to create my own worlds truly
blossomed during my years of study in Hamburg. It was there that I developed a
deep love for beautifully and artistically crafted picture books as a medium, and
the world of visual storytelling hasn't let me go since.

How would you describe your visual language, and how has it evolved over time?

It’s always a challenge to pinpoint exactly what defines your own work, but I
believe it lies in my personal interpretation of the world—how I see things, how I
translate them into shapes, and how I choose my colors. My visual language is
deeply rooted in a love for analogue textures, tactile surfaces, and a certain
nostalgic atmosphere. Over time, what has changed most is my approach to
different media. Today, I work both analogue and digitally, as I wouldn't want to
miss either. This interplay between the two has significantly influenced my visual
worlds, allowing me to become bolder with unique color combinations and
textures.

What themes do you find yourself most drawn to when creating for young
readers?

First and foremost, I love illustrating books simply for entertainment or the
pure joy of looking at the art. However, for me, a project is even more fulfilling
when it carries an additional emotional layer. That’s why my work often explores
sensitive themes that resonate with me personally and inspire my storytelling. I
want to offer children a space where they can explore their own emotional
landscapes. For me, a book is a wonderful way for children and parents to spend
quality time together, spark the imagination, and start conversations about
topics that might otherwise be hard to put into words. Reading together is one
of the best ways to truly connect with one another.

Homesick House touches on themes of leaving and returning—did your own
experiences shape the way this story came together?

There is a great deal of my own life reflected in Homesick House. While
working on the project, I moved to a new city after ten years in Hamburg.
Leaving behind what is familiar requires courage—but I always say that exploring
new things in life is like airing out a room; sometimes you need a fresh breeze to
gain new perspectives. My fascination with houses has deep roots: my
grandfather was an architect, and my husband is one as well. The idea of
'walking houses' was born from a personal feeling during the pandemic when
the city became overwhelming. Interestingly, we were inspired to travel with a
rooftop tent by the gestalten book Hit the Road. Ultimately, it's a story about
leaving in order to appreciate arriving all the more.

Could you walk us through how a project typically unfolds for you, from an early
intuition or idea to the final book?

Every book project is like its own little cosmos, and the way it comes to life is
always different. Sometimes a story grows out of a single illustration, sometimes
from a piece of text. In the case of Homesick House, it was the central theme of
the absurd: what could be more absurd than walking houses? Once the basic
idea is set, I think about the inhabitants and write the rhymes. When the
storyboard is finished, I begin the illustrations. I always leave it open whether a
project will be executed analogue or digitally. Unlike many illustrators, I rarely do
classic 'test' illustrations. Instead, while I do create many sketches, I approach the
more detailed versions with the direct intention that they could become a final
part of the book. For me, this is usually the most organic way to find the right
path.

Your work resonates with both children and adults—how do you approach
creating stories that nurture imagination in younger readers while offering depth
and reflection for older audiences?

I believe the reason many adults enjoy my books as much as children do is
rooted in my conviction that a children's book must be appealing to parents as
well. After all, they are the ones who initially select and purchase the book. For
me, these two audiences are not mutually exclusive. I personally exist within a
circle of people who love and collect beautiful, artistic books. People who
appreciate design and aesthetics want to read books to their children that offer
depth, both visually and narratively. I aim for an aesthetic that doesn't
compromise and speaks to both generations.

Little Gestalten titles often bridge storytelling with broader themes like
environment, design, or learning—are there particular subjects, topics, or themes
you’re excited to explore in future projects?

To be honest, it’s exactly this uncertainty that drives me: not knowing exactly
which ideas are still slumbering within me or which projects will knock on my
door next is incredibly motivating and makes me very curious about the future.
The world offers such an infinite range of stories and emotional nuances waiting
to be translated visually. I’m drawn to projects that allow both the creator and
the reader to gain a fresh perspective on our environment and how we live
together. I look forward to continually diving into new subjects that leave room
for discovery and carry a sense of genuine, artistic depth.

- Pauline Pete

Get your English copy of Homesick House now. The German edition, Das Haus zieht aus, is available too.